Si Begg & Neil Landstrumm - "The Pusher (M)" (3:59)
The Exaltics - "00045.00.2" (3:53)
Amato - "Sueur Et Poussiere" (6:13)
DJ Overdose - "Industry Repeats" (4:55)
Review: As ways to introduce a new label go, this first outing from Hearse is pretty special. It's something of an all-star affair, with cuts from scene stalwarts and a lovely screen-printed sleeve. To kick things off, old pals Neil Landstrumm and Si Begg join forces on talkbox-sporting ja, "The Pusher (M)", where bleeping melodies and intergalactic electronics cluster around a mind-altering electro groove. The Exaltics offer up a razor-sharp slab of arpeggio-driven 4/4 electro insanity ("00045.00.2"), while Amato smothers an EBM/industrial funk style beat in foreboding electronic riffs and suitably wonky modular motifs. It's left to DJ Overdose to close proceedings, something he does in style via the distorted drums and mangled electronics of industrial electro workout "Industry Repeats".
David Last - "All That's Left" (feat Lavender - dance mix) (5:51)
Review: Besides its inimitable name, Hobo Camp has had a pretty unbeatable first few years in the game, switching up the electro sound with shades of loopy house and techno. These guys have released over two dozen EPs since 2016, and are showing no signs of stopping if this new collaborative release is anything to by! Pumping the vibes through with utter ease, Run The Length Of Your Wilderness is a daring, rip-roaring amalgamation of tech-driven sounds that span just about every quality corner of the game. "The Industrial City", from Cherushii, moans and weeps with a fragile acid bassline over broken percussion beats, while Nackt's "Next" floats at a house tempo, driven forwards by a winding bass from the darkest corners of the 4/4 game. On the flip, Roche's "One For Cherushii" bigs up his counterpart with a deep, aqueous house chugger, and David Last's "All That's Left" drops a clean, sparkly prog house groover for the lovers.
Review: Helena Hauff's label is back, this time presenting a various artists 12" that heralds the start of the No Return series. The release starts on a mystical bent with the Eastern-tinged death electro of "El Carmel", sounding ripe for a Hague-friendly warm-up session. Neud Photo then take over with a dystopian trip through rich synth tones coloured in dark hues for the bleakest of robotic fantasies. Antoni Maiovvi fills the B-side with the slow grinding bombast of "The Dig", bleeding out a noirish take on coldwave for the darkest hearts to swoon to.
Review: Distorted Sensory Perception is a new label emerging out of the Bristol underground to represent the deeper end of the techno and electro scene. The first release is a various artists affair that kicks off with the bold and expressive sound of rising talent Gilbert, last spotted on two excellent Innate releases. Mindless Evolving Objects takes a similar approach laden with harmonious pads and twinkling arps, while Datawave takes things in a darker direction without losing that melodic nous. Label founder Zobol has an emotive bent in his track "Scatterbrain," and Nikolay Sunak completes the set with the illustrious "Dance & Cry Baby."
Review: In some ways, And Silently Vanish Away is an odd title for an EP packed with tracks that linger long in the memory. Certainly, electro heads will appreciate the heavy 808 hits, droning bass and fluttering, deep space electronics of Exterminador's brilliant "Alien Soundscapes", not to mention the trippy, delay-laden vocal samples, warped hardware melodies and scuttling drum machine rhythms of NGLY and Exterminador's "Broken Flowers". We're big fans, too, of Hinode's bustling, razor-sharp opener "Mission4" - the kind of track that would leap out of a DJ mix and send you rushing online to find out its identity - and the fuzzy, dust-encrusted techno hum of DJ Nephil's hypnotic "Codex".
Review: Eccentric imprint Les Points returns for the first time in 2018, bringing with it a quartet of cuts from "Various Xenopunks". Louh kicks things off with a fizzing, saucer-eyed techno shuffler that fixes classic electro chords and Motor City melodies to a bustling and forthright rhythm track, before Nicola Kazimir dips a mentalist, bass-heavy electro workout in modular distortion and a variety of mind-altering spoken word samples. Over on side B, Walid's "Posterior Spinneret" is a fine chunk of end-of-days electro with added foreboding noises, while Audinio's "Venus Flytrap" is the kind of wonky, acid-fired romp that would once have formed part of Rephlex Records' Braindance series of releases.
Review: Polish producer, graphic designer and writer/poet Karol Gwozdz aka Nail joins German label Dominance Electricity, who's hosted Blastromen, Dynamik Bass System and legends Jackal & Hyde in the past. The Silesia-based artist's vinyl debut comes in the form of "Revelation" - a brooding and majestic electro epic with vocoder lyrics in the same vein as legend Anthony Rother. This is followed up by the fierce and functional electro-bass workout "1987" on the flip. Proper heads down tackle which also comes with a handy "Arpeggio Bonus" where he shines the spotlight on the track's glistening, sublime arpeggio melody.
Review: Original music from Vancouver based producer NAP has been intermittent on the electronic music scene, but now the Isla boss has finally dropped a 12" of deadly, textured and fresh-sounding electro for our bodies and minds. "Transhumano" features ZDBT and has all the hallmarks of Stingray-friendly future shock machine funk, but the particular approach to pads and melodies has a distinctive, moody slant that chimes with the hazy sound of Canada's West Coast. "Anestesia General" is another needlepoint, uptempo workout that packs layer up on layer of darting rhythms and blippy synth lines into the mix. "Sin Sistema" completes the set with a more subdued but no less detailed box jam workout.
Review: Jack Pattern collective member Neu Verboten is transmitting sonic metadata from the interzone, between the secret Lustpoderosa headquarters (in Zurich) and the decentralised battlefields of today's resistance. Combine old synth machines with rusty surveillance tools and you get a quartet of rough and sludgy electroid mutations. From the slow burning retro boogie of opener "Arsenic Wish", to the dystopian future bass of "CET + 666" to the euphoric acid express of "Early Bab" and the oddball exotics of "We Trance Fair" - this is Certified Euro Terror.
Review: Happily, Neo Violence's third label sampler contains some real gems. It begins with Niro's "Nazca", a distinctively spacey affair that brings together echoing, dub techno style synthesizer motifs, shuffling tech-house drums and chords seemingly beamed down from another galaxy. VNZO's woozy "Relax Yourself" continues the fusion vibe (think ultra-deep Motor City techno mixed with dusty deep house), before NMSS and Jjuan pepper a cowbell-laden broken house groove with swirling chords and late '80s hip-house vocal samples. Another rock solid EP is drawn to a close via the rubbery, post-electro rhythms, darting bass and dreamy pads of Zolaa's standout "Fao-Mao".
Review: Though best known for their archival endeavours in the realm of early 80s synth pop and industrial music, Dark Entries never seen afraid to stray off compass if the mood takes them. Take this Split EP for example, which sees Josh Cheon's West Coast label travel back in time to unearth some nascent Detroit electro from Nu Sound II Crew and Magnus II. Linking both project is Sam 'DJ Maestro' Anderson, a Detroit native whose body of work has been issued on labels as diverse as Metroplex and Suge Knight's Death Row Records. This split EP gathers together tracks from both projects, with lyrical themes of outer galactic travel abounding on a set filled with primal Detroit electro energy and naivety.
Review: Spain's Fanzine hits double figures by welcoming Nullptr (the alter ego of British artist Eddie Symons) for some heat that has made him a cult favourite over the last decade. The man behind Cambridge electro night Motherchip Connexion and his own [d]-tached label invites you to strap in and surge through the skies with him on a pulsating journey that finds him tease real funk out of his machines. From sombre and stripped back cuts of lonely electro to masterfully melodic affairs via devastatingly emotional groovers, this EP does it all in fantastic fashion.
Nocturnal Emissions - "Even The Good Times Are Bad (1983)" (4:33)
Innyster - "Todis" (6:08)
Review: Contort Yourself reaches its sixth installment with yet another era spanning gathering of post-punk and industrial oddities for the most deviant of dancefloors to digest. In the contemporary corner we have Penelope's Fiance, a promising industrial artist from Greece. Meanwhile on the B-side, Nigel Ayers as Nocturnal Emissions takes us back to 1983 with the utterly chilling "Demon Circuits Bloodbath" and "Even The Good Times Are Bad". L.I.E.S boss Ron Morelli steps up as U202 to remix "Even The Good Times Are Bad" as a death march of malevolent percussion.
Review: More two-for-the-price-of-one brilliance from the 777 label, which in recent times has served up a number of EPs showcasing cuts from two or more artists. This time round, Texan booty-shaker Textasy handles side A, first serving up the clanging, distorted and skip-heavy electro-acid madness of "Highland Park Acid" before once again showing his love of Miami Bass via the fizzing, floor-friendly thrust of "Hold Up Wait A Minute". Sometime Serious Trouble contributor Nasty King Kurl comes to the fore on the flip. "No Thanks" is a wonderfully wild, twisted, bouncy and weighty chunk of acid-fired techno insanity, while Kiki collaboration "Sucka DJs" offers a twisted, 21st century take on the classic "booty bass" sound.
G-Force - "Feel The Force" (feat Ronnie Gee & Captain Cee) (7:23)
Tyrone Brunson - "The Smurf" (6:09)
Review: Over the years, Joey Negro has delivered compilations focusing on a wide range of styles and sub-genres, including soulful disco, Italo-house, early U.S disco-rap, and Washington D.C go-go. Now he's turned his attention to electro, the style that did more than any other to inspire Britain's first wave of DJs and dance music producers. This "personal collection" contains a mixture of stone-cold scene classics - Aleem's Leroy Burgess-fronted "Release Yourself", Hashim's scene anthem "Al Naayafiysh (The Soul)" and Dwayne Omar's P-funk influenced "This Party's Jam Packed" - alongside deeper selections such as Kosmic Light Force's brilliant - and hard to find - L.A electrofunk classic "Mysterious Waves", and The Russell Brothers thrillingly intergalactic "The Party Scene".