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- Kill Pop - Bow
- Livesexact - Up to Get Down
- Louie Fontaine - Evil Force in My Pants
- Mistle Thrush - Judy Stone
- Tub Ring - Living with Rene's Head
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- Doe - Maylar
- Birchville Cat Motel - Crystal Firefighter
- Eso Steel - A Scratch
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Let's get off on the right foot: this album fucking rules. Bad Sectorhave existed since 1993 but only recently has he gotten the press hedeserves. Part of what makes him so good is the fact that his music ispretty much unlike any other: it's noisy, it's ambient, it's amazinglyemotional, and it's amazingly creepy. All at once. It's like Farmer'sManual meets Anenzephalia meets Autechre's "VLetrmx21."
"Polonoid" is a prime example of his work. Originally released as avery limited CD-R on Germany's Vuz Records, it is now more widelyavailable (yay!), and features all his trademarks: shifting walls offeedback, droning, melancholy synthesizers, and bizarre cut-up voicerecordings. Sometimes, as on "Open Universe," the music resembles powerelectronics in sheer intensity or volume, and yet it retains melody anda certain digital aspect that other music of this nature lacks thatreally sets it apart.
In summary: Bad Sector is amazing. To quote the artist himself, hismusic is "deeply emotional dark ambient noise," and he is really damngood at what he does. Don't miss out.
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Impressions from shady sideways of the datastream appear, titles like"Sentimental Elevator Bits" and "Monomental Intercourse" nearly say itall. Plankton provides a lost futurism a la early Kraftwerk and Numanwith today's tools. "Soleil" would even work in a Metropolis Score -but in a rougher style.
A promising debut which raises expectations.
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The first glimpse on this, sold on the recent UK tour and via mailorderfeatures the original track and 3 mixes by Dave Ball & Ingo Vauk.
Their versions develops the original "Wir brauchen Dich #6" into agroovy hallucinogenic mixture with added slices of psychedelicfeedback. The first version being the most consumer-friendly with abouncy guitar line, but all of them share an irresistible drift awayfeeling like Carlos Peron's Brainticket remixes or some Chrome (withless harshness). The two non-album mixes could have been titled "Dub"and "Club" but are actually called "Ellapropella," and "Processors OfElimination" mixes and are sadly shorter than stated on the cover.
Nonetheless, this serves as a good taster and if all participants willbe allowed so much input of their own, the album should turn out reallyinteresting.
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Iceland's Kitchen Motors label has been unifying and challengingdifferent artists with their commendable Motorlab series, this beingthe 3rd installment. They approached Adamson and Pan Sonic to compose avocal piece for Iceland's HljÑmeyki choir and that they did this pastApril in Reykjavik. For about 12 and 1/2 minutes, "The Hymn of the 7thIllusion" aimlessly treks through windy terrain, simple vocal 'ahhhs'and bass reverberations being somewhat of a guiding light. It's aminimal bore that never achieves any sort of tension or serves any sortof purpose. After a silent 24 second interlude, an even more dull 23minute glitchified remix by The Hafler Trio only adds insult to injury.A tremendous waste of potential all around that doesn't even begin totap the talents of those involved. Me, I semi-patiently continue towait for the new Adamson album, "Nothing Hill", due out early next year.
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