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: Damn! Dark Entries are on a roll! Their latest reissue is of Scotland's Thomas Leer, an early 80's independent artist who recorded "Private Plane" in his bedroom using an extremely limited set-up...the prototypical '80s experimental kid! The tune is dreary, funky and on the abstract side all at the same time, but our favourite is actually "International" thanks to its wonky groove, driving percussion stabs and bursts of distorted jazz flute. On the B-side there's also "Saving Grace", a more poppy affair in that inimitable 80's Karate Kid flair...highly recommended, a 12" worthy of a reissue.
Review: Thomas Leer was mainly active in the late 70s and early 80s, dropping two singles on Cherry Red that provided the source material for the two original tracks on this Emotional Rescue reissue 12". Opener "Saving Grace" is a rich, bombastic blast of synthwave, all chugging arps and massive leads, while "Tight As A Drum" heads into more psychedelic territory, using strange gating techniques and deft FX to create a wondrous, shimmering bed for Leer's poetic chat over the top. Bringing an inventive angle to the release, the label signed Bullion up for two wonderfully warm, wobbly remixes. Honing in on the weirder qualities of Leer's work, these modern interpretations make a perfect bridge from the old to the new - highly recommended!
Review: Lhasa is the brainchild of Alain Raes from Siegen, Germany. As a teenager he was inspired by Tubeway Army's "Are Friends Electric" and Art Of Noise's "Beatbox". In 1985 he began collecting analog equipment (Prophet-5; Oberheim OB-X; Linn LM-1) as digital synthesizers had started to become more popular. In 1986, New Beat was born in Belgium. Dancers tapped into the darker side of synth pop, and DJs would play 45 rpm records at 33 with the pitch control set to +8. Alain was playing in New Wave bands and had started production work and synth programming for other acts.
In 1988 he self-released the debut Lhasa single 'Acetabularia' / 'Acetatechno', with help from Kris Tremmery on vocals and concept. The record combined the icy melodies of Gary Numan and John Foxx with with the mechanical rhythms of Detroit techno and EBM. Thematically, both tracks revolve around the end of life on Earth, and include samples from 'Dr. Strangelove'. For this first time reissue, we've added 4 bonus tracks rescued from a 1990 recording session DAT tape. These demos show further development of the Lhasa sound with updated instruments (Roland D-20, Yamaha TX16W, Korg 707), faster tempos, and menacing proto-rave energy. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy includes an 11x11 poster with photos and liner notes by Alain.
Review: Second time around for South Florida noise-niks Life In Sodom's 1991 debut single "The Stains", which here comes accompanied by a 21st century rework from Mannequin big cheese Alessandro Adriani. His mostly instrumental version adds a little rubbery electronic funk and weightier bottom end into the mix whilst retaining the drum machine driven, guitar-fired sense of impending doom that marked out Life In Sodom's original mix. That celebrated cut comes in slimmed-down album and extended versions, with the latter working better on club dancefloors. Also worth checking is bonus cut "Phantasmagoria", a much more downbeat and melancholic affair that sounds like it could have been made at any point in the early-to-mid 1980s.
Neuzeitliche Bodenbelage & Sam Irl - "Faeden" (5:35)
Review: Earlier in the year, Fantastic Twins' Julienne Dessagne offered up the first volume in a new series of multi-artist EPs with a decidedly psychedelic electronic bent. Four months on, she's assembled another team of musical miscreants to deliver more audio "Microdosing". Oceanic kicks things off with the Steve Reich style melodic loops and gently pulsating electronic rhythms of "Parallel Lines Of Stripes", before Versatile Records founder Gilb'R dives deep into swirling ambient waters via the multi-speed oddness of "Cosmogonie". Over on side B, Lucas Croon fuses post-dubstep rhythms, skittish drum solos, twisted acid lines and intergalactic electronics on "Threshold Stimulus", while Neuzeitliche Bodenbelage and Sam Irl join forces for the kosmiche throb of "Faeden".
Review: Back in 1981, London-based Anthony Waites decided to create some "poetic, subversive pop music" with borrowed synthesizers in friends' bedroom studios. The result was a sole, self-released seven-inch single under the Scenes De La Boheme alias, a record that has long been a cult item amongst collectors. "Standing In The Rain", his first ever album, includes those two tracks - the bubbly brilliance of "Zara" and the lo-fi, beat-free, guitar-driven shuffle of "The Tale Of The Butterfly" - alongside four others recorded in the same period. It's an impressively off-kilter and atmospheric set, with the early Human League style hum of "Leap Into The Void" and the icy shuffle of "A City Such As This" standing out.
Review: In 2015, long-serving Slovenian experimentalists Laibach became the first Western band to perform in North Korea, including a number of songs from "The Sound of Music" - a favourite in the DPRK since the 1960s - alongside their own material. Three years on, and with the assistance of Silence's Boris Benko and vocalist Marina Martensson, they've finally delivered their interpretation of the musical film's familiar soundtrack. Swaying between rock balladry, experimental synth-pop, darker tones and industrial style fuzziness, the band's covers are both revolutionary and revelatory, as staples such as "The Lonely Goatherd", "My Favorite Things" and "Do-Re-Mi" are given radical makeovers. As they did at the concert that inspired the set, they also give their interpretation of some traditional North Korean folk songs.
Review: The UK's Mica Levi is back on our charts and much like last time, we expect these five glorious slices of drone-laden experimentation to fly out of here in record time. The supremely off-kilter waves of this new EP land on Demdike Stare's DDS imprint, now something of an institution for the odder side of electronica, and they couldn't be better placed anywhere else. That said, the noisy ambient glows of "Delete Beach (Japanese)", and the sparse, aqueous drum machine loops of "Interlude 1" are perhaps a step further out into the ether compared to the label's usual bag of tricks. On the B-side, the instrumental cut of "Delete Beach" morphs and develops beautifully for the entirety of the waxplate while, stretching to disc 2, "Interlude 2" catapults us into a world made up of sporadic pianos and Vengelian synths, leaving the English version of "Delete Beach" to unravel what was said on the A1.
Review: Liaisons Dangereuses self-titled debut album was not an immediate success on its' release in 1981, but its' influence would spread far and wide. Almost entirely made up of synthesized rhythms, chords and melodies - with the addition of stylish vocals from all three band members - it would help define the "electronic body music sound". It quickly became a big record in both Detroit and Chicago, inadvertently helping to inspire the nascent techno and house scenes. Listening again to this reissue, it's amazing how well the music as aged. While heavy on stylish posturing, it still sounds thrillingly futuristic and alien. It should be an essential purchase for anyone with even the smallest interest in the history and development of electronic music.