Review: If you've ever wanted some straight-up italo disco but then wondered where to find it, where to start, who to ask, then Dark Entries have sorted you right out. As usual, the label come through strong, and this time they reissue an italo disco classic by Brand Image (T.Scarfone and M.Scarabelli) originally released in 19983, and representing the genre with flying colours. "Are You Loving?" contains the 1980's in every sense of the word: quirky, melancholic vocals riding over a grainy drum machine beat, and accompanied by massive synth stabs and an inimitable sort of groove - simply lovely. There's an instrumental on the flip just in case you love the sounds but are slightly scared by the power of the vocals...
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: As per usual, those fiendish folks over at Dark Entries have amazed us once again with yet another barrel of 1980s gold from the depths of the underground. This time it's German new wave band Boytronic who see a reissue, and the EP in question is 1988's "Byllyant", which features the magnificent Plus 8 mix - a shot to the head made up of warm bass tones and hard-hitting drum machine patterns - and also the US mix, which literally sounds like it was made yesterday; for being an '80s EP, Boytronic steered well clear of cheesy and to be honest, they give New Order a proper run for their money. The 1984 mix of "Trigger Track" is a wonderful electro stormer, stamping its fast beats over eerie pads and growling basslines. This would be silly not to recommend! For the diggers.
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: You could say that Kodiak Bachine is Brazil's greatest ever Brazilian electronic producer. That would not be an overstatement, it's just a simple fact. It was 1982 when he first released this EP, and it's been a classic, and a favourite of ours, ever since. In fact, "Electricidade" is so powerful because it sounds like it could have been made today; its tenebrous synths filling the airwaves from every angle, giving the track a strange sensation of lust and wonder. The flip, "Espirito Das Maquinas", is another enchanting ride through broken electric cables and abandoned power plants, a place where Bachine clearly thrives and surpasses all expectations. Highly recommend reissue!
Review: 10 Germany seem to get it bang-on each and every time! For a label who has released the likes of Ancient Methods, Perc and Matthew Herbert, among other legends, we'd expect nothing less than the spectacular and this is exactly what we got with this latest collaborative effort by Italy's Daniele Brusachetto, Jansky Noise, Human Larvae and Damaskin. Brusachetto's "Grigi Ma" is weird and wonderful pop tune set against a backdrop of cavernous percussion rattles, while Janksy Noise's "Black Night" is a full-on drone monster. Over on the flip, "Ruined" by Human Larvae is a fuzzy, noise-fuelled scorcher, and "Apocalypse" sees Damaskin produce the EP's only shred of rigidity thanks to its consistent 4/4 kick...accompanied by some rather gnarly power electronics, of course.
Review: You wait ages for a Bezier record, and two come along at once. Following hot on the heels from his excellent Telemores mini-album for Dark Entries, synthesizer enthusiast Bezier drops a surprise 12" for the affiliated Honey Soundsystem. As usual, the French producer has his sights set on mining the past for inspiration. "Mina (Everywhere)" begins in typical fashion - all spacey synthesizers and twinkling melodies - before morphing into a relentless chunk of dirty, Italo-and-EBM inspired house. The pleasingly sunny "Serengeti Drive" is more of a stripped-back Italo-disco bubbler (admittedly with dream-wave flourishes), while "Mysteries of the Deep" offers an intergalactic romp through cold-wave pastures with only cheap old synths and drum machines for company.
Review: Brothers From Different Mothers stalwart Basses Terres is a producer to whom easy categorization cannot be applied. For example, on his 2016 debut, he rushed between a quartet of experimental techno, leftfield and electronica excursions, while 2017's "Counting Pulsations" cassette was a druggy trip rich in ambient, dub and "dungeon synth" flavours. So what's on offer here? More intoxicating, otherworldly concoctions, that's what. Highlights include the dark tropical ambient of "665 Moths", the dubbed-out post-dancehall weightiness of "Wilfred Doricent", the slipped and spacey electronica of "Deliae" and the fluid dreaminess of gently percussive closing cut "Sentiment Oceanique".
Review: Texas club music icon Lotic continues Bjork's makeover on One Little Indian with another beautiful 12", cropped and packaged in a gorgeous silk-screened bag. Bjork's "Notget" had already been retuned by Lotic, but this time he returns to the turn with his Fromdeath version, jumping from solitary drones to broken shreds of power electronics, tribal drums and gun shots. It's a jagged, wayward affair for the more adventurous disc jockey, and one that will please both the floor shakers and the brain melters - this tune is only a shadow of its original self, and it comes as this week's top of the tips..!
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.
Review: At first glance, French enfant terrible Bambounou is a surprising addition to the Diskant impint - now known as just Disk. Known for his techno and house exploits on Clek Clek Boom and 50 Weapons, his knack for intricately programmed rhythms were on display even back then. It kind of figures that he'd be a good choice for the label, come to think of it now. That's certainly proven across the three tracks on the Parametr Perkusja EP, where his sound sits comfortably alongside label mates like Harmonious Thelonious and Durian Brothers. From the slo-mo esoterica of "Dernier Metro" which reaches near tribal moments, the hard hitting polyrhythmic techno of "Kosovo Hardcore" it is great to hear some original productions from him after lengthy absence.
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.
David Bowie/The Rebels - "Revolutionary Song" (4:42)
Marlene Dietrich - "Just A Gigolo" (3:34)
Review: Here's something to get Bowie fans hot under the collar: a first worldwide pressing of the Thin White Duke's "Revolutionary Song", his only contribution to the soundtrack of 1978 West German flick "Just A Gigolo", in which he also starred alongside silver screen legend Marlene Dietrich. The song was recorded with a local band of musicians hastily dubbed "The Rebels" and sees Bowie in classic crooner mode, adding his distinctive vocals to a jangly, largely acoustic number that's effectively a folksy take on waltz. Over on side B there's a chance to enjoy one of Marlene Dietrich's last ever recordings: an atmospheric cover of 1930s cabaret standard "Just A Gigolo" which ended up being the movie's title track.