A pioneering label established by Headman in 2001 that not only carved out a path for Robi Insinna’s own music, but contemporary acts like Franz & Shape, Jr Seaton, Maya Danon and an early Daniel Avery release! Celebrated for resurrecting underground classics like The Units’ Digital Simulation album (featuring “High Pressure Days”) to the obscure ‘80s pop of The Unknown Cases’ “Masimbabele”, Relish’s discography also includes collaborations with Yello’s Dieter Meier and Stephan Eicher of Grauzone fame. Deeper still there’s a wealth of remixes and edits to discover like reworks from Borusiade, Red Axes and Richard Fearless to legendary curios Zongamin and In Flagranti. Add Timothy J. Fairplay, Andy Blake, and JD Twitch to the mix, plus many more, and it’s Relish on top.
Review: Featuring serious numbers from Curses, Fabrizio Mammarella, Pin Up Club and more - this Borix compilation presents the Best Of Relish VIII. With two badass remixes by Robi Insinna not be be overlooked, Niv Ast drops in with a pumping and slightly tripped out electro number "Tatiana", next to UK beat-poetry of Bozzwell's haunted indie session "Isolation Underground". Fabrizio Mammarella turns up the drums in his contribution via "Magnesium", with a Curses remix of Younger Than Me something of a bonus track that turns in a darkly defiant post punk number that buuurns. Enjoy!
Review: Headman's Relish label bring us the latest in their series of label compilations, with this one gathering together 10 tracks that were originally released over the past half-decade or so. Relish are 20 years old this year, so you should have a pretty good idea what to expect already: indie-dance and synth-led nu-disco with an experimental/leftfield edge have long been the label's stock-in-trade, and so it is here. Justine Forever's idiosyncratic cover of Siouxsie & The Banshees' 'Happy House' and the Cure-ish guitars on Mondowski's 'Surfin' Hell' evidence a slightly goth-y edge, too, but the standout for yours truly is Red Axes' remix of Gina X's 'No G.D.M' - think ESG meet The B-52s.
Review: 20 years into his career as Headman, Robi Insinna is in a nostalgic mood. He's decided to offer up a series of retrospective compilations featuring original productions and remixes, some of which were previously unreleased. To begin the series, he's prepared an epic collection focusing on archive cuts recorded between 2001 and 2011. There's plenty of weighty, low-slung goodness to be found throughout - much of it inspired by a mix of post-punk, punk-funk, no wave and dub disco -as well as some stripped-back, synth-powered hedonism (see the 'Rework' of his collaboration with Yello's Deiter Meier, 'Gimme'). Some of the included remixes are rather fine, too, with highlights including Chicken Lips' sleazy, TB-303-powered take on 'It Rough', In Flagranti's sweaty revision of 'Gimme' and Chmmr's throbbing, delay-laden re-wire of 'Blue Boys'.
Review: Headman's Relish label have been turning out the angular, leftfield disco-not-disco grooves for nearly 20 years now. So it's no surprise that such are in abundance on this 10-track compilation; what's more surprising is that two decades in, far from the label's quality standards slipping they actually seem, if anything, to be getting better at it! Fans of the likes of ESG, A Certain Ratio, Liquid Liquid, Fischerspooner or Cabaret Voltaire will find much to enjoy here, with Moscoman's dub-inflected 'Wet Shoes Everywhere', Bozzwell's Talking Heads-ish 'I'm Emotive' and Retriever's hypnotic, gothic-tinged 'Murder (NUN Remix)' among the highlights.
Review: Headman's Relish reissue an album that was first out in 2006, but that could easily have been released 20 years earlier. Italo, electro and new beat/EBM would be the key points of reference overall, and words like 'spiky' and 'angular' spring most readily to mind when attempting to describe most of the tracks. But there are also moments - see 'Tightropes' or 'Regrets And Tears', for instance - that opt for a smoother feel and end up sounding closer to 80s synth-pop doyens like New Order, Black or The The, while cuts such as 'Maximum Joy' and '444 Days' have a slightly heavier, more industrial feel.
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