Review: While he's offered up the occasional remix, William "Burial" Bevan has been rather quiet of late. In fact, this two-tracker marks his first original material for almost two years. Lead cut "Claustro" is an unexpectedly up-tempo dancefloor affair - a sweet and sticky chunk of future-garage that sees Bevan wrap sugary female vocal snippets, spacey chords and bubbly analogue electronics around snappy two-step beats - drenched in vinyl crackle and tape hiss - and a rock solid bassline. It will raise a few eyebrows given his previous work but nevertheless sounds like a summer anthem in waiting. Bevan returns to familiar territory on flipside cut "State Forest", a ghostly, field recording-laden ambient excursion where pedal steel style motifs slowly rise above opaque electronics.
Review: Naturally, there's been plenty of hype surrounding this new Hyperdub 10", which features Burial indulging his often-discussed ambient influences. It's a typically creepy and ghostly affair, with the lack of beats - if not rhythmic elements - only serving to amplify the shadowy producer's impeccable sound design and brilliant use of manipulated field recordings. A-side "Subtemple" is particularly paranoid in tone, featuring as it does chilling melody loops, curious vocal samples, looped vinyl crackle and all manner of layered background noise. Flipside "Beachfires" is, if anything, even more dystopian, with Burial basing the action around the kind of pulsing chords that gust back and forth like an autumnal breeze.
Review: Burial's first multiple-track release since "Rival Dealer" three years ago: "Young Death" takes the lead with weave of deep, scratchy and evocative human textures while soulful vocal shards yearn and flutter over soft faraway beats. "Nightmarket" takes an even more introspective meander through the shadowy unknown with fractured arpeggios, distant whispers and thick graininess that envelops almost overwhelmingly. As forward, unusual and unique as ever, Burial remains in a league of his own. Limited.
Review: The partnership of Kassem Mosse and Beatrice Dillon; Dillon Wendel is a place for the two respected artists to explore soundscapes, aesthetics and synthesis in pastures aeons away from the dancefloors they're most familiar with. Both compositions weighing in over 15 minutes, they're experiences which challenge form and convention; "Pulse" ripples with its namesake, a texture that buzzes and drones in endless waves while "High" mutates a warmer, grainer tone with dizzying effect.
Review: Last year Burial and the Bug joined forces as Flame 1, delivering an in-demand EP on the latter's Pressure label featuring two sizable slabs of industrial strength soundsystem science. Here they return as Flame 2, once again offering up a pair of weighty dancefloor excursions. A-side "Dive" is a loud and claustrophobic affair, as the duo wraps dystopian dub bass and sparse, mutilated post-drill rhythms in layers of apocalyptic aural textures and mind-altering dub techno style processed noise. Flipside "Rain" is arguably more suitable for dancefloor plays and sees the esteemed twosome combine pulverizing sub-bass heaviness with dancehall style drums that come smothered in mind-melting effects and paranoia-inducing aural smoke.
Review: Current heroes of the industrial techno sound here tend to focus on the industrial side of things for The Cast Project: a vinyl affair from Los Angeles based on the collective sounds from a faction of artists. They are said to gather a few artists; each of them providing several unique audio samples, clips and/or field recordings that best define their sound. They then collect the samples from each artist and redistribute them to the artists as a master pack, at which point they create a unique track. First up fellow Los Angeleno Luis Flores delivers the grinding and guttural first offering, while 138 then delivers some impressive Autechre styled IDM on his/her effort. On the flip, Dutch terroriser Bas Mooy delivers a furious and powerful warehouse techno stormer that blows the doors off as always. Finally Serbian duo Ontal deliver some more of their typically contorted takes on techno.
Review: For their ninth release, Berlin's mindcolormusic present another stellar release by a debutant, as well as an old schooler. Shane Teal aka Flux is based out in the Pacific Northwest U.S.A. and is said to have been recording music for over a decade, making anything from electro to drum and all that's in between. All these disparate influences can be heard on the unholy mixture of "2linx" which comes off sounding like some broken-beat offworld IDM experiment - and sounds pretty awesome. On the flip, it is over to Eddie Symons: a veteran producer based in the UK, who after releasing on his own Struktur and [d]-tached imprints, made his debut as Bovaflux for the Highpoint Lowlife label back in 2005. Four deep and dystopian electro bass offerings from Symons here, and we particularly enjoyed the Aphex/Autechre spounding melancholia of "Lmp_Nrg".
Review: Pavel Milyakov has largely impressed since making his debut under the Buttechno alias earlier this year, delivering a pair of 12" singles that gather together short, hardware-driven experiments in a variety of dystopian styles. Here, the Russian producer debuts under his given name, once again flitting between dark and spacey dancefloor workouts, bleak broken techno, macabre electro, wonky IDM and panicky ambience. Despite the stylistic shifts, the EP hangs together impressively, thanks in no small part to Milyakov's penchant for industrial textures, tape echo and haunting melodies. If you're into the releases of L.I.E.S and Berceuse Heroique, you need this in your life.
Review: Amnesia Scanner, the duo made up of Martti Kalliala and Ville Haimala, have quickly established themselves as important artists operating in the field of experimental electronic music, with a distinct focus towards noise, sound collage and abrasive synthesis. After last year's "Another Life", they return to Pan in collaboration with label boss Bill Kouligas, resulting in the startling, challenging and compelling "Lexachast". It's an album that veers in mood from track to track - at times intimate and furtive, other times bold and aggressive. There are whispers of beats thrown tauntingly to the edge of the mix, while elsewhere acoustic sound sources strain to be heard, but the focus is really on jagged shards of processed sound. It's a powerful, unapologetic listen from artists and a label proudly stabbing into unknown sonic territory.
Review: Soundtrack reissues specialists Death Waltz finally deliver what everyone has been waiting for; a newly remastered edition of Angelo Badalamenti's timeless score for Twin Peaks. A project that was first announced back in 2014, Death Waltz have really put the work in here on this double LP presentation. Seeking out engineer Tal Miller to remaster the score, getting the approval of David Lynch on the artwork, sleeve notes from Badalamenti and of course the music itself pressed up on "damn fine coffee" coloured vinyl. Musically speaking, do we really need to describe what is a classic selection of compositions from the American? Both the foreboding "Twin Peaks Theme" and somewhat more soothing "Laura Palmer's Theme" should be singed on the cerebral cortex of any self-respecting fan of culture.
Review: As an ode to the upcoming remake of David Lynch's infamous Twin Peaks, there is a flurry of Angelo Badalamenti reissues at the moment. In fact, both this original soundtrack, which is the official music as heard in the 1992 film, and the Fire Walk With Me spin-off have both resurfaced as reissues this week. Unsurprisingly, we recommend for you to snap up both because they have been something of a rarity over the last 10 years. Timeless and iconic from start to finish, this soundtrack is not for the faint of heart, and will likely stir some feelings upon initial listen. This will be all the more palpable if you were shocked and eternally intrigued by the movie. We were, of course, and we absolutely cannot wait for the new series either!
Montage From Twin Peaks: Girl Talk/Birds In Hell/Laura Palmer's Theme/Falling (5:25)
The Voice Of Love (3:52)
Review: Angelo Badalamenti is to noir thrillers what Ennio Morricone is to the spaghetti Western scene. The Italo-American composer has been a pivotal part of the Hollywood soundtrack scene since the 70s and, among many cult-like figures, he's collaborated extensively with the great David Lynch on projects such as Blue Velvet and, of course, the present Twin Peaks, a film which has reached a God-like status over the last two decades. The music from the motion picture is as vivid and dream-like as the film itself; Badalalementi immerses you in a world of Neo-gothic trance and bizarre, fairy-like dances that instantly recall the movie's infamous dance scene concerning two horses. What is most notable about it is his use of subtle jazz nuances and the man's pioneering downtempo style. NB: this particular release, Fire Walk With Me, features additional music and acts as a companion to the official soundtrack as heard in the movie. What a soundtrack. Totally essential.
Review: Before Twin Peaks and all that followed, director David Lynch and composer Angelo Badalamenti had worked together just once: on the former's 1986 mystery noir movie Blue Velvet. Lynch asked Badalamenti to create an original score inspired by both the works of Shostakovich and the smoky, clandestine atmosphere found at blues and jazz clubs. These two musical threads are explored on side A and B respectively. So, while the first side contains numerous sweeping, dark and moody orchestral compositions, turn the record over and you'll find classics from Roy Orbison and Bill Doggett, as well as Badalamenti's spine-tingling interpretation of pop standard "Blue Velvet". Featuring a mixture of simmering strings, breathy female vocals and atmospheric field recordings, it's as creepy a version of the much-covered song as you'll hear.
Montage From Twin Peaks - Girl Talk/Birds In Hell/Laura Palmer's Theme/Falling (5:25)
The Voice Of Love (3:52)
Review: Death Waltz has pulled of something of a coup here, obtaining permission to release Angelo Badalamenti's score from David Lynch's controversial Twin Peaks movie spin-off, Fire Walk With Me. The film was panned by both critics and fans of the original TV series on its 1992 release, but has since becoming something of a cult classic. Badalamenti's fine score is as atmospheric and beguiling as his work on the original Twin Peaks series, and contains a number of tracks that rework musical themes from that acclaimed production. Death Waltz has gone all out on the production, too, housing heavyweight, cherry-splattered vinyl in a luscious gatefold sleeve.
Angelo Badalamenti - "Fred & Renee Make Love" (2:08)
Marilyn Manson - "Apple Of Sodom" (4:22)
Antonio Carlos Jobim - "Insensatez" (2:53)
Barry Adamson - "Something Wicked This Way Comes" (edit) (2:58)
Marilyn Manson - "I Put A Spell On You" (3:28)
Angelo Badalamenti - "Fats Revisited" (2:32)
Angelo Badalamenti - "Fred's World" (3:02)
Rammstein - "Rammstein" (edit) (3:26)
Barry Adamson - "Hollywood Sunset" (2:00)
Rammstein - "Heirate Mich" (edit) (3:05)
Angelo Badalamenti - "Police" (1:39)
Trent Reznor - "Driver Down" (5:18)
David Bowie - "I'm Deranged" (reprise) (3:47)
Review: Since its release in 1997, David Lynch's neo-noir-horror, Lost Highway, has become something of a cult classic. The accompanying soundtrack album, here reissued on weighty double vinyl, is similarly revered in some circles. Put together by Nine Inch Nails' frontman Trent Reznor, composer Angelo Badalamenti, and punk-turned-producer Barry Adamson, it's a mish-mash of darkly intense songs (Bowie, Smashing Pumpkins, Lou Reed and Rammstein all contribute), and the kind of creepy, other-worldly soundscapes that have always been a feature of Lynch's work. It's arguably the latter tracks, composed by Badalementi and Adamson, which remain creepily potent all these years on.
Review: Kris Baha has been on a serious roll over the past few years, notching up releases on Bahnsteig 23, Pinkman and many more besides. Now feels like the right time for him to drop an album, and where better to do such a thing than Cocktail D'Amore? The Berlin-via-Melbourne producer's sound comes through loud and clear - minimal wave and industrial influences abound, executed with ferocity and flamboyance in equal measure to create a many-shaded set of deviant dance bangers. "Living Nothingness" is the ultimate nihilistic beatdown, "Steel Sands" channels early Nine Inch Nails to perfection, and "Defied" has a propulsive thrust that would make Al Jourgensen proud. Baha wears his influences on his sleeve, and why not? They're great influences that he creates stunning music with.