Review: Rather unexpectedly, the third CVX release, to date, comes through on Berceuse Heroique, an imprint which seems to be following and replicating just about any genre or sub-culture form the past, making it a perfect example of post-post-modernism in action. Zibaldone III of CVX, a serious previously restricted to the Laura Lies In label, is undoubtedly a wild and wicked concoction of nebulous sonics that are all driven by a toxic, merciless percussion which spews from all angles with a certain mechanical fashion. It's an honourable third edition of the series, and we hope this marks a beginning of a new dawn for CVX. Wicked style.
Review: Gird yourselves; starting from this month and running through until December, Dutch institution Dekmantel are celebrating a decade in the game with a series of monthly 12"s featuring a seriously all-star cast from Tony Allen to Villalobos. It starts right here as legendary innovative composer Gigi Masin opens with the lilting, delicate "Maja", Vakula brings us down from the clouds and back to the future with the body-jacking ghetto bump of "Robot Fuck The System" while Flugel blows the finale horn with the swampy Amazonian harmonic trip-out "Mice On Stick". This is the start of something very special.
RRoxymore - "Ministry Of Silly Talks" (Lena Willikens remix) (6:22)
Review: Here's something to set the pulse racing: a pair of thrilling new Lena Willikens remixes of tracks from the Huntleys & Palmers' back catalogue. She begins by taking on Oklo Gabon's muscular electro-disco smasher "City Gym" from 2015's Chapter 2 compilation, reinventing the mystery producer's original as a creepy chunk of horror-informed EBM (think undulating synthesizer melodies, foreboding bass and clanking drum machine percussion). On the flip, the Salon Des Amateurs resident re-interprets Rroxymore's 2014 cut "Ministry of Silly Talks", craftily turning it into a stylish and occasionally unsettling chunk of analogue-rich EBM hypnotism. As you'd expect, it rises and falls in all the right places, with Willikens wringing every ounce of atmosphere from Rroxymore's wavering synthesizer lines.
Alessandro Adriani - "Do Not Deliver Me Into The Enemy's Hands" (6:01)
Raw Ambassador - "Attack, Attack!" (5:49)
Review: New Italian label Hiroshima 45 Chernobyl 86 Windows 95 present Pubblicazione 001. Starting off on the A side is Penelope's Fiance from Thessaloniki, who serves up a lo-fi and coldwave perspective of the Boards Of Canada on "Run & Gun", while Italians Rawmance and Security team up on the slo-mo EBM mutation of "Un Bon Flic" - bringing you the sound of latter's Knick Knack Yoda burger club in Rome. On the flip, Mannequin boss Alessandro Adriani gives us the gnarly 303 acid epic "Do Not Deliver Me Into The Enemy's Hands" and Raw Ambassador aka Antonio Barbetta gives us the early industrial sounds of "Attack, Attack!" with its rusty aesthetic calling to mind the classics of Portion Control or Skinny Puppy.
Review: Some of you may remember Ricardo Vincenzo from his 2015 debut Pororoca Transatlantica, a two-track missive that blended South American production with all the warmth of sun-kissed downtempo electronica. If anything, this belated follow-up for esteemed Finnish label Sahko is even better. Vincenzo begins with the farmyard animal samples, rolling tribal percussion, African chants and rich electronic bass of "Cabras No Elevado Quilombia", before chopping and looping a dusty old tango track on the mid-tempo house pulse of "Onna No Yujo". On the flip you'll find the low-slung, post-dubstep creepiness of "Haru", where exotic vocal samples drift across a sparse but heavy beat pattern, and the aural trip to Morocco that is "Excellent Drom".
Review: First making a splash several years back with their much lauded debut on Blackest Ever Black, Raime (the duo of Tom Halstead and Joe Andrews) return and inaugurate their new imprint. Developed as a blank page for the pair to to experiment on, the three experimental imaginary soundtracks featured here are described by the London based duo as 'perhaps a reflection of our bombardment based online culture.' This follows up another release this year entitled Am I Using Content Or Is Content Using Me? on Mumdance and Logos' Different Circles imprint.
Review: If you are lucky enough to have visited Dusseldorf club Salon Des Amateurs, you may be familiar with one of its residents, the cultish Serbian DJ Vladimir Ivkovic whose daring sets are inspiration to another of the venue's stars in Lena Willikens. Often Music is Ivkovic's new label and their first release shines a light on the unreleased archives of pioneering Serbian electronic artist Rex Ilusivii, real name Mitar Suboti?. The Serbian artist sadly passed away in a studio fire in 1999 leaving behind a vast number of unreleased works recorded over a decade from 1980 onwards. Six of those rescued tracks feature on this double 12" release In The Moon Cage (side 4 houses an etched illustration) and the more daring selectors out there will find them quite inspirational.
Review: And just like that, France's Kump label is born. The newly formed crew make for some pretty promising prospects if this debut EP is anything to go by, and they've started flying off our shelves with the same sort of zesty energy found across its five killers! Thankfully, this isn't yet another deep house joint and, one the contrary, it provides us with some seriously fresh strains of house music built for the next decade. Ricco's opener "Gilbert & George" is a punchy, mid-tempo pulser with a subtly acidic flow, and Pletnev's "Thunder" follows beautifully with the same sort of beat, but comparatively tamer harmonies. On the flip, Ju-Ju83 gets all sombre and industrial on "Untimely End", while "Nirvana" by Roe Deers offers a totally different sort of 'sad', and Markus Gibbs's "Dernier Souffle" manages to blend mid-90's acid with something that, well, we can't quite put our finger on...
Review: Ex-Terrestrial associate Richard Wenger - better known as R Weng - dons a new alias here, for an album that's apparently the result of a "three-year experiment in minimal synth maximalism". In practice, that means a hugely enjoyable trip through Radio Workshop style synthesizer motifs, hypnotic machine rhythms, 1970s style electronic music soundscapes, jaunty turn-of-the-90s IDM and occasional forays into decidedly dubbed-out, synth-driven grooves. It's a hugely enjoyable collection of cuts, with Wenger providing finished tracks that sound like they could have been made in 1979 (or in some cases, '69) rather than 2019.
Review: Following up 2016's dynamic Plum LP on his Brunette Editions imprint, New York City based producer John Roberts returns with a release that he best described himself as 'a series of songs written and destroyed. Self-cannibalized productions spit back out in abnormal silhouettes.' Indeed, it's quite the departure from the dusty and evocative deep house he produced on Hamburg imprint Dial a while back - in particular his well received debut Glass Eights in 2010. "Spill" is an unholy mixture of neo-classical, experimental lo-fi techno and guitar drones - that isn't altogether unpleasant. On the flip, be captivated by the bittersweet ambient house of "Wrecked" and the ethereal peace "Fluid" composed of powerful blasts of distortion and sombre trumpets.
Review: Previously, Ricardo Villalobos and Max Loderbauer have delivered some deliciously epic remixes that sound more like freestyle electronic jazz epics than stripped-back minimal techno chuggers. It's perhaps fitting, then, that they've been given a chance to rework two tracks from Swedish jazz drummer-turned-electronic experimentalist Samuel Ruhrer's recent album, Range of Regularity. Together the Berlin-based duo tackles "Uncertain Grace", creating a mind-altering concoction rich in frazzled electronic pulses, chiming melodies, delay-laden drum hits and deep-sea textures. Villalobos goes solo on the flip to lay down a typically intoxicating, off kilter, acid-flecked minimal techno interpretation of "Lenina". The Chilean keeps things fresh by incorporating fluttering flute passages and broken electronics.
Review: High Ends returns with an EP by Thomas Romain and his mother: famed free jazz pianist Christine Wodrascka. Christine's style is wholly unique: there are no barriers for her sonic exploration. Sound matter, energy, forms, architecture and emotion all play a part in shaping the style of one the most unique musicians out there. In his own irregular style, Thomas adds a sense of swing to his mother's improvisations. This fusion of acoustic and electronic creates wholly original experimental journeys which will delight the auditory senses of those listening. All these aesthetics are translated into opening track "Tribute To Parmegiani" where the track's namesake just happened to pass away on the day it was produced. It receives a sublime and hypnotic remix up next by Tobias Freund (Ostgut Ton).
Review: Shahr Farang continues to blossom as a label, primarily as a vessel for the work of Sohrab Karimi and Rasul Gafarov, better known as Ahu and Lenta respectively. On this occasion, Ahu and Lenta have teamed up to present some intriguing clippings from two separate improvised studio jams. As is customary with the label, the primary mode of expression is minimal techno shrouded in hazy textures and atmospheric matter, but it veers more towards the kind of clicks and cuts you'd expect from a classic Scape record than anything geared towards the dancefloor. The steady tick of a 4/4 kick means this music isn't necessarily consigned to the headphones though - the right kind of warm up slot or backroom could be just the place to melt into these delicate productions.
Review: Valcrond Video, the label run by sound and image artist Luke Wyatt (Torn Hawk), Apresents VV-013 Russo's ""Wild Metals"". A
Russo (Ari Russo) is an NYC based multi-artist whose engagement with abandoned media finds an outlet in the video bursts he culls as OfficeFern. As a programmer, he's produced innovative music generation tools such as the Diamond Arpeggiator. He returns to his own music with this collection of challenging and transporting structures.A
Wyatt and VV are eager to endorse Russo's latest report on crossmodal perception, a true exercise in synesthesia.A
""Wild Metals"" sounds like ferns and orchids infiltrating a tableaux of black plastic electronics, the breed of black plastic that Russo and Wyatt both found sinisterly inserted into the grid of their childhood. It provided the skin for some of their favorite toys, and its general resonance was aligned with the fast cars, women, and architecture that dominated their imaginations.
Review: De:tuned are in the midst of a 10 part anniversary series, and this latest missive - the seventh in all - brings together a hefty selection of talents old and new on heavyweight vinyl. Jonah Sharp opens things as Spacetime Continuum and continues to fuse ambient, techno, and IDM on the absorbing cosmic adventure that is "Only One Sky." Scanner's "Mothlit" slows things down with a hip hop instrumental from outer space, and then the beats disappear altogether on Ross 154's suspensory ambient cut "Earth To Our Friends." Lastly, Leo Anibaldi's "Crion" will make your skin tingle with its deft and delicate melodies which float about like fireflies and leave gorgeous, glowing trails in their wake.