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Buyer Rating: 100.0% positive (15 ratings)

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• Power Noise (aka Rhythmic Noise) Only

Auteurs, The Vs µ-Ziq - The Auteurs Vs µ-Ziq - 06-Jul-09 08:28 AM
I wonder if any other owners of this specific version of the (imo fantastic) release have encountered the same experience as me: With the years the surface of the CD has dissolved to a degree that is completely unlistenable now. I do own some other CDs effected by disc rot and the like, but nothing as severe as with this here, with the surface on the recorded side looking like it has been transformed into a strangely crystaline structure.
Thank god I have the vinyl as well, as I really love this work from the heart!

Hands Productions - 14-Jun-09 05:01 AM
HANDS goes into its 15th year of existence in 2009, and it has proven to continually develop - maybe not as quickly as you might expect, but well... who would have ever guessed they would come up with a homepage that actually provides conetnt and a mailorder section, plus a myspace page?
Also, the labels artist rooster has increased, as well as some long lost bands resurfacing, like SYNTH-ETIK or TYPHOID. 2008 saw the debut of MASCHINENKRIEGER and LAST DAYS..., more primitivist noise, not so much my cup of tea, but 2009 has provided a wonderful harvest with the irresistably charming Drum of ANGINA P, the slightly intellectual quirkiness of INCITE/ and the fresh takes an Rhythm Noise by British act PCP PRINCIPLE and the tribal-styled GREYHOUND-offshoot SYNTECH - all those are to be well watched!

Musickwreckers, The* - Mission Mass Media - 24-Jun-08 08:16 AM
Here it is, the debut fullength of the artist formerly known as Thorofon - and listening to this, the name change actually does make sense. While early Thorofon was rightout Power Electronics with the usual screaming job going on, the later releases showed an increasing use of angst pop structures and a development from "tracks" to "songs". This evolutionary mission seems now completed...
In a way, this sounds like the male companion to the music released by Geneviève Pasquier, which in fact, it really is. Both dig deep into the consciousness of industrial culture, with Geneviève Pasquier resounding the Cosey Fanni Tutti moments of TG or early Chris & Cosey and the Musick Wreckers now representing the song-structured male aspects of that band/era.
Unfortunately, to my taste, this is a picture vinyl, which renders it useless for DJ purposes, but the sound quality is still fine as is the production.
Nevertheless, from a release that deeply old school/retro, do not expect too much innovation, but 11 tracks of rock solid quality entertainment.

Rorschach Garden, The - Transfer - 22-May-08 08:14 AM
Before I start singing the praise about this album, which is only the 4th regular full length in a band history of 20 years now, I do admit my personal connection to the people who are TRG, but then: If you disagree, write a review yourself and make your own point…
TRANSFER is a true recommendation with it’s collection of songs that radiate a warm band feel and it’s diverse melodies and hooks, all crisply produced for maximum listening satisfaction. Yes, the TRG sound does (still) have strong 80s connections, and that is because the band use original analogue synths a lot, but the production is digitally enhanced and quite up to date. You won’t find preset sounds or any other weaknesses on here, this is true electronic craftsmanship. Some comparisons crop up while listening – the singing hints at Bernard Sumner of New Order in places (Play Games, Let The Information Flow) and the latter plays with the OMD Enola Gay pattern a bit, A Lost Love and Natures Last Announcement bring to mind the darker days of Depeche Mode maybe. But that’s where you see the strength of TRG: While you can maybe make out those references, they are never obvious or superficial, and they’re definitely not ever in danger of being perceived as another DM-clone.
While the majority of songs on TRANSFER are full-bodied pop songs with strong hum-along melodies, there are also some worthwhile distractions, like the indie-dance-flavoured opener, the three instrumental pieces (Interference, Night Train and the Epilogue), the industrial-tinged A Lost Love or the (one and only) minimal electro of Less Vast.
So let’s ask the question, who will actually like (and maybe even buy, though this is out of fashion nowadays) this kind of music? Certainly not the minimal electro scene they used to be filed into for a while, for they have definitely outgrown the ANALogue dogma and lo-fi fixation for good. Neither very interested seems to be the highly commercialized Goth scene, fed on their diet of ghoulish poser bands who actually play schlager music tuned a few octaves; even though TRG for some reason feature regularly on scene-related compilations and play their few live appearances in that scene’s surroundings.
No, the audience for TRG are adults with a taste for quality music and an individual pedigree in independent music AND pop music that goes beyond commercial ambitions, people who grew up on 80s music, don’t fear the experimental and nowadays still have a heart for the likes of JUNIOR BOYS. Speaking of them: If any record company should ever pick up TRG for more exposed marketing (as I believe they bloody well should), those would be my recommendation for doing remixes. More than half the songs on TRANSFER would be a good choice for outtakes, and as all the elements lie crystal clear in the mix, a perfect playground for skilled remixing.
But then, pop business is the way it is, and so it might remain the privilege of the connoisseurs to enjoy this CD!

Mandelbrot - Thorns - 16-Feb-08 07:48 AM
This is quite a departure from the soothing, crystaline soundscapes of its predecessor "Auf Tauchfahrt" - instead, THORNS is constantly grating the eardrums with shifting tonalities, ever changing mock-rhythm-patterns and loads of clinks and clonks. Nevertheless, the tracks are concise and the rigid structure makes the "hard" sounds surprisingly accessible.
Such music is individually perceived in different ways by nature, but to me THORNS is neither Dark nor Ambient, but surreal, queer and very exciting, standing quite on its own within the genre and avoiding all its cliches.
If I was into taking drugs to music, I would probably go for acid instead of barbs for this one...

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