Review: Earlier this year Minimal Wave offshoot provided one of this year's most visceral dancefloor weapons in Kino-I, the debut from Doug Lee's new An-I project. Taking inspiration from techno, jack, industrial and punk, An-I successfully drew a line under some of the Berlin-based artist's previous disco-flavoured endeavours. And then some! If you like the Kino-I 12" you will love the new triplet of An-I productions housed on this appropriately titled Gutz 12". The title track alone should come with a health warning; such is the furious onslaught of machine funk it contains, whilst the unnerving "Rut" is the most schizophrenic production you will hear this year. Best of all id closing track "Save Us" sounds like a cross between in Aeternam Vale and Silent Servant. Pressed on a rather thick and dashing slab of magenta orange vinyl!
Review: Hot on the heels of the updated DAF stylings of that Schwefelgelb 12", Enfant Terrible / Gooiland Elektro demonstrate the breadth of their output with this plate from Tobias Bernstrup. A decorated contemporary artist from Gothenburg, Bernstrup is one of those annoyingly talented individuals who works across visual, interactive, performance art and electronic music mediums and if there's a new wave of Italo Disco he's definitely amongst the top 5%. The Destruction EP is classic Bernstrup mixing elements of Italo with synth pop and at times it sounds like Bernard Sumner's been in the studio with Ali Renault. Dancefloor hits for the neo-romantics among us!
Review: Analogue synthesizer enthusiast Bezier first surfaced on Dark Entries in 2012, delivering the hard-wired retro-futurist fantasy Ensconced. Two years on, he's finally ready to release the follow-up, the similarly sharp and sci-fi themed Telemores. As with his previous output, the influences are obvious - think Radiophonic Workshop, electro, minimal, new wave and Italo-disco - but he smartly steers clear of pastiche and empty revivalism. Instead, we're treated to a range of dancefloor-friendly instrumental cuts, cyborg jams, and intoxicating robot rinse-outs. Closer "Fukushima", in which he doffs a cap to the synthesized horror-disco of John Carpenter, is particularly potent.
Review: A special release from Minimal Wave here as the uber rare Irene & Mavis EP from UK synth poppers Blancmange is granted a reissue! Those with a pub quiz winning level of knowledge of UK synth pop will no doubt be familiar with the 80s hits of Blancmange duo Neil Arthur & Stephen Luscombe, yet this debut EP dating back to 1980 will still sound revelatory. The self released Irene & Mavis EP marked Arthur and Luscombe to be fully willing to experiment with DIY electronics, impressing Mute founder Daniel Miller sufficiently to proclaim them "maiden aunts of electronic music," and thus more than suited as a subject of focus from the Minimal Wave label. There are definite similarities between this nascent stage of Blancmange and the output of Cabaret Voltaire from the same era, particularly in the masked and disembodied nature of the vocals, whilst "Holiday Camp" and "Just Another Spectre" are wonderful examples of instrumental synth music. Despite originally being released in 7" format, the six newly remastered tracks are presented here in 10" format by Minimal Wave with the distinctive artwork retained!
Review: Music From Memory's first retrospective of obscure Brazilian electronic music, "Outro Tempo", was arguably one of the strongest compilations of 2017. There's a second volume on the way, with curator John Gomez this time focusing on music made between 1984 and '96. First, though, we get this taster EP featuring two previously cassette-only cuts. On the A-side you'll find Bruhaha Babelico's "Bruhaha II", a ghostly and mind-altering chunk of delay-laden new wave/industrial funk fusion full of fuzzy bass, echoing female vocals, dubbed-out electronics and psychedelic yelps. Turn to the flip and you're greeted by Individual Industry's off-kilter, outer-space synth-pop jam "Eyes". Like its predecessor, it's an unusual, intoxicating treat.
Five Times Of Dust - "Computer Bank" (The Floor mix) (7:12)
Five Times Of Dust - "Armoured Car" (6:57)
Unovidual & Tara Cross - "Like I Am, Comme Je Suis" (The Floor mix) (7:11)
Unovidual & Tara Cross - "Imponative" (3:28)
Review: Thanks to the eternally revered Minimal Wave imprint, out of NYC, Mark Phillips and Robert Lawrence's Five Times Of Dust project is going through a bit of a revival. The duo had first released some post-punk cassettes back in the 80s, and they clearly have not been forgotten. On this new remix EP, "Computer Bank" is given a makeover in the form of a The Floor remix, who proceeds to add all sorts of quirkiness over the tune's tough, heavy bass and driving rhythm; "Armoured Car" breaks the 4/4 in favour of something much closer to the band's original drum machine style. Once again, on the flip, we have a remix of "Like I Am, Comme Je Suis" by The Floor, who throws up a gnarly electro bass onto shady, neo-romantic vocals, and the whole things is finished off by "Imponative" from Unovodual and Tara Cross, who produce a slow, heady industrial groove for the dancefloor.
Review: Back in 2015, jazz/electronica fusionists GoGo Penguin wrote and performed a live soundtrack to Godfrey Reggio's cult 1982 documentary "Koyaanisqatsi: Life Out of Balance". It was such a success that they have since performed the soundtrack live all over the world, and here deliver a fine mini-album inspired by their original "re-score". It's as vibrant, emotion-rich and stirring as you'd expect, with opener "Time-Lapse City" providing a dazzling mixture of intensely positive and restless pianos, bustling jazz drums and smooth double bass, "Ocean In A Drop" brilliantly growing in intensity throughout thanks to a superb new arrangement and closer "Nessus" sounding every bit as poignant and tear-jerking as it did when they first performed the score.
Review: Fans of mechanical techno-not-techno sounds will be all over Minimal Wave's latest transmission from 80s French underground heroes In Aeternam Vale. Having reissued several essential lost works from the outfit last year, most notably the proto-Sandwell sound of "Highway Dark Veins", Veronica Vasicka delivers another two tracks from the vault. Stylistically mirroring that previous two track release the title track is an equally brilliant synth-techno beast which could easily pass for a Function track today, while B-side "Calling Somewhere" sounds like a cold wave version of proto-halfstep. Needless to say, the fact that these tracks are 22 years old literally left us speechless.
N'ecoutez Pas Tous Les Conseils De Vos Amis (4:45)
Dans Mon Desordre (5:42)
En Retirant (5:52)
Review: LCN is the alias for Le Chocolat Noir, an artist whose thirst for roughneck electro seems absolutely devoid of any sort of replenishment. The man's been active for near ten years now, skipping and hopping from label to label, and he lands on Gooiland Elektro, a subsidiary of Enfant Terrible, with these four stomping bangers. The A-side twists and turns its industrial gears with a fluid motion, bubbling up all sorts of dark energies from the depths of the inferno; the flip is no less magnetic in its look-and-feel, offering up two dicey cuts - "Solitude" and "En Retirant" - the former being a deep excursion into cold-waves and the latter a nasty, vibrating acid hybrid for the warehouse.
Review: It's been some six years since Caroline "Miss Kittin" Herve and Michel "The Hacker" Amato last delivered fresh material together. While we await further news of their long-mooted comeback, there's this tasty EP of previously unheard archive material to enjoy. Made up of tracks recorded between 1997 and '99 - when their production partnership was in its' infancy - The Lost Tracks Volume 1 contains a number of fuzzy, stylish, floor-friendly bangers, from the S&M-themed madness of opener "Leather Forever" and stripped-back electro gem "Nightlife" (a tribute to Berlin clubs of the period, apparently), to the high-tempo acid-loaded freakishness of "Loving The Alien". Top-notch sleaze.
Review: Martin Jenkins dons the Pye Corner Audio alias once more, transferring to Death Waltz in order to deliver the soundtrack to an imaginary horror film. It's naturally an all-analogue affair, with Jenkins making the most of his impressive collection of vintage synths, analogue drum machines and effects units. There's much to enjoy from start to finish. Check, for example, the ghostly chords, foreboding bassline and spacey electronics of "Do You Hear Then", the creepy, Carpenter-ish horror-ambience of "It May Not Be Real", the evocative late night paranoia of "Descent" - which is similar in tone to some of Jonny Jewel's soundtrack work - and the clattering dancefloor throb of "The Spiral", whose bassline, beats and darting melodies are just begging to be played over a booming club soundsystem.