NotOneStraw

S U R V I V E - RR7349 as reviewed by NotOneStraw

December 7, 2016
This pressing is the opposite of quiet. It's noisy AF. And yes, I have a very thorough multi-step cleaning process for all my records, incl. new ones. And this has static, pops, ticks, and crackle throughout. Which is a shame, because near as I can tell it's a really cool record.
JonniCobb

Homemade Weapons - Negative Space as reviewed by JonniCobb

December 7, 2016
Incredible album. Possibly the best of 2016. Top top work.
jmczaja

The Fall - Hex Enduction Hour as reviewed by jmczaja

December 7, 2016
Finally a great sounding pressing of Hex on vinyl! I own 2 original Kamera pressings and the reissue on Earmark and this easily beats both of them. I haven't heard an original on Kamera that wasn't noisy regardless of condition and i owned a few. I was hoping for a x2 LP reissue because of the running time of the record but they did a great job!
ChampionOC

Cantodiscanto - Medinsud as reviewed by ChampionOC

December 7, 2016
I decided to review the night dash to the Mighty Italian folk with an Oriental motive. The vocals, especially women in this album on top, as well as the instrumental part.
Now gradually move on to the cover. In it we see a beautifully painted orange, which immediately catches the eye with its bright orange color.
With regard to the collective itself Cantodiscanto can not say almost anything, but still there is one thing ... The music they make gorgeous.
I recommend listening to.
Label Forest Hill, under which published the album is unknown to me.
streetmouse

Various - The Magical Mystery Psychout - A Tribute To The Beatles as reviewed by streetmouse

December 7, 2016
Roll up! Roll up for the magical mystery tour! Step right this way! … hear twelve up and coming psychedelic bands trip the light fantastic and dare to cover The Beatles’ 1967 sensational Magical Mystery Tour. Well that’s not quite right, there are twelve bands covering songs from The Beatles hazy psychedelic past, and some of the songs are taken from that relentless album, though it is not a cover of the album proper.

All and all the bands do create a sonic atmosphere that will delight your wayward ears with rather good renditions of The Beatles material they’ve chosen to cover. While none of the songs venture far off the map, the construct in which they each develop their chosen material sounds sharp crisp and in the moment, a reflection of today’s musical attitudes from a grouping of artists who’s parents might not have walked the planet when The Beatles were colouring with world with a spectrum of sound and colour that today still stands as a beacon for any wishing to strap on a guitar or pick up a microphone.

The Blank Tapes have one of the most splintering versions of “The Word Love,” turning it into a psych blues number that will rock you back and set you right with the world. Other startling additions include “Tomorrow Never Knows,” by Electric Moon, The Vacant Lots “Julia,” and “Cry Baby Cry” by Quilt. The weakest track on the album has to belong to Strangers Family Band who cover “Sun King” with an experimental jazz outlook that is annoying pretentious noisy and uncomfortable. The Ruby Suns, and their version of “Martha My Dear,” run a close second with a track that sounds as if it’s been clipped together from dozens of takes, and entirely overly produced … though KVD do an ambitious off the wall take of “Taxman,” slowing the song down to a hypnotic crawl and lacing it together with an etherial energy that absolutely allows the number to blossom with shivering textures.

All and all, Cleopatra Records have released a cohesive outing that’s both mesmerizing and substantial, intoxicating and eroticly delightful … a record that’s worth the ride and then some.

Review by Jenell Kesler
thediscogslife

Unknown Artist - Untitled as reviewed by thediscogslife

December 7, 2016
there is no difference between life and death ... SUZUKI
dj_hipz

Clarence Carter - This Is Clarence Carter as reviewed by dj_hipz

December 7, 2016
misprint, both labels, side one is also labeled as side two
El_Jairo

Model 500 - Mind And Body as reviewed by El_Jairo

December 7, 2016
This is the album that really got me into Juan Atkins and what he does and has done in the past.
I'm a fan as this album as it only get's better by listening this more. Which is a sign of a great album for me.
Sure this doesn't sound a lot like the other work he has produced but I am a fan.
I you like electronic soundscapes, soulful voices and even a hint to Gladdys Knight and the Pips.
In one word: Masterpiece.
Wizhard

Gary D. - Timewarp as reviewed by Wizhard

December 7, 2016
Timewarp is an unmissable masterpiece & wonderpiece (yeah, I need to create new words to express the love I feel) of Hardtrance. The very best use of gated voices.
It brings you to another dimension (well, that was foreseeable thanks to the title) as soon as the track starts. A fantastic break, followed by a nice build up, and then comes these orgasmic voices, and as if that was not enough, they're followed by this legendary piano riff... I am pretty sure Gary is now with these angelic voices & piano in hardtrance paradise... RIP to the legend, this is his legacy that will stand strong as a rock for the years to come !
RoryHoy

Lack Of Afro Featuring Steve Marriott - Touch My Soul as reviewed by RoryHoy

December 7, 2016
The B-Side (The Outsider) is seriously one of the most epic and anthemic funky tunes in existence.
ultimathulerecords

Present - Live Delusions as reviewed by ultimathulerecords

December 7, 2016
Nice quality recording if very oddly balanced. After doing some research, I found at least a couple of references that imply that this is actually taken from the DAT soundboard recording that someone nicked! The set is mostly familiar material but from a not so familiar line-up (if the cover is correct that is).
KurtMartin

Status Quo - Whatever You Want as reviewed by KurtMartin

December 7, 2016
Matrix / Runout (Runout side 1 (stamped)): 6360 175 S☆1 6 670 07 112
Matrix / Runout (Runout side 2 (stamped)): 6360 179 2Y 6 ℗1979 670 114 06
DOCTOR_DIATRIBE23

Forgemasters - Track With No Name as reviewed by DOCTOR_DIATRIBE23

December 7, 2016
https://www.youtube.com/watch?v=xKQVVHYuyGY 1:58 onwards ...Great use of a sample for a ground breaking piece of UK pioneering techno ... ;)
kilarzleesen

Ryan Adams - 29 as reviewed by kilarzleesen

December 7, 2016
This is one of the worst sounding pressings I own. Warped and a lot of noise throughout. Should be rereleased on Pax Am.
KurtMartin

Sky (4) - Masterpieces - The Very Best Of Sky as reviewed by KurtMartin

December 7, 2016
Matrix / Runout (Runout side A (stamped)): B-1029 A-1
Matrix / Runout (Runout side B (stamped)): B-1029 B-1
TomCLee

Fantastic Man - Galactic Ecstacy as reviewed by TomCLee

December 7, 2016
Very nice record. Hits the acid sweet spot which not a lot of tunes seem to do these days. Quality producer!
KurtMartin

Simon & Garfunkel - Bridge Over Troubled Water as reviewed by KurtMartin

December 7, 2016
Matrix / Runout (Runout side A (stamped)): 01-63699-2A-1 A
Matrix / Runout (Runout side B (stamped)): 01-63699-9B-3
xtraterrestrial

Slyder - Neo (The One) as reviewed by xtraterrestrial

December 7, 2016
edited about 3 hours ago
It's rare to find original trance music coming from the USA at the time this was released, much less of such high caliber. This is a solid piece of uplifting trance, managing to be highly emotional and melodic without sacrificing any of its energy like many other songs in the genre do. From the melody to the vocals to the guitar, it's an all around really well done track. You can tell a lot of thought was put into this one.
Dark-Lucifer

Nachtmahr (2) - Kampfbereit as reviewed by Dark-Lucifer

December 7, 2016
edited about 3 hours ago
I always liked Nachtmahr. Some albums were better than others but it was always good or even very good.

This album is in my opinion one of the very good ones. Perhaps even the best. I know though that not everybody shares my view on this album. Some even say its a little backstep. I like that Thomas tried to put some oldschool Nachtmahr sound into this album and it works extremelly well. Some tracks even have a Nightmare Of Cain touch to me. If you don't know who that is, check this artist out. Pretty much the closest thing you will find next to Nachtmahr. Might even be considered a clone by some people but I think it has enough own sound and ideas to stay a unique project. But it definitely takes its inspiration from Nachtmahr.

Either way, I am extremely happy with this album. Maybe my favorite release of 2016 and also the best Nachtmahr album for me personally. The one from before was Alle Lust Will Ewigkeit. That all is coming from a Nachtmahr fan from the very beginning of the project. Nachtmahr in fact was also one of the artists which brought me into this sort of music.
streetmouse

Roxy Music - Avalon as reviewed by streetmouse

December 7, 2016
edited about 3 hours ago
If you had taken a Quaalude and fallen asleep back in 1973, then awoken in 1982, you would have found yourself on some strange shores when it came to this glam art rock band of the early 70’s, with this their final proper studio release … not to mention that there as a man on the album sleeve, and Quaaludes had been banned for several years.

No longer were Roxy Music [an almost accidental super group] the darlings of the all things new and fresh. They’d been around so long that new wave had come and gone, with the gothic angst moment in full swing. Roxy Music, which was pretty much Brian Ferry at this stage, who along with the only other original members, Andy MacKay and Phil Manzanera, were creating spaciously smooth atmospheric waves filled with stylistic breathiness, enunciated by meanderings of beautiful vulnerability.

Avalon was nearly an overture of etherial delights, with the track “More Than This” to cut a monumental swath across the landscape of America, giving the band and fans a broader outlook, one that certainly suggested that the Roxy had all but sold out at this time, yet were still able to create some sonic riffs that delighted the ears of many. No longer was Roxy Music a lit cigarette sparking across the road tossed from a passing car. They were now more of a smoldering forgotten bit of blue smoke curling into the air, lipstick on the filter, with a gold lighter laying next to the ashtray. No doubt about it, Roxy music had just created the most luscious sophisticated album of their career, one equaled by no other band of the time.

The lyrics of Roxy Music had always been exceptional, with Avalon being no exception, filled with skillful subtleties and an instrumental expertise that is unequaled; except for perhaps Steely Dan, who rose and vanished while Roxy Music were taking a breath. Oddly enough, I know of almost no one from those days who didn’t harbor the notion that this would be the last Roxy album, that Bryan Ferry was going to take the solo path, which he did, and had some success with ideas from the final phases of this band, yet would not be able to carry things on with the cohesive feel that Roxy Music had developed from moving through a musical timeline.

With that being said, it’s Andy Mackay who not only delivers the best performances on this album, but of his entire career, with his smooth haunting deliveries that are nothing short of timeless … and he seems to do this effortlessly, challenged by the sobering brooding romantic lyrics of Ferry. There’s nothing I would like better than to wave this album off as so much fluff, but it’s more, much more, an album so creatively and carefully sculpted that it sits there like a heart still beating, sounding as fresh and intoxicating today as it did the night I heard it for the very first time.

Review by Jenell Kesler
optimistic_tour

Demdike Stare - Wonderland as reviewed by optimistic_tour

December 7, 2016
My review on https://optimisticunderground.com/2016/11/30/demdike-stare-wonderland/

Demdike Stare have returned with a full length release over four years after their last with a quietly radical shift in sound. After exploring all the hidden spaces beneath the world of techno, they seem to have finally let some light in.

Wonderland is a revelation from any direction, surprising longtime fans and cracking open unexplored depths for the uninitiated. The timing couldn’t be better: this album hits an apocalyptic fever pitch right as 2016 winds to its dystopian end.

For a year that opened with the death of David Bowie and gave us the disastrous US election, an appropriately jarring sendoff was necessary. If anything was going to set me reeling after the long, hard road of this year, it had to be this album.

Wonderland may be the first full length release since 2012’s sprawling 2CD / 4LP Elemental, but the duo of Sean Canty and Miles Whittaker have spent the meantime exploring all the damaged corners of techno through a series of Testpressing singles. These songs erupted far adrift from the oppressively dark caverns that Demdike Stare had spent years painting. They were strange in a new way, brittle, disintegrating, even blossoming into something more recognizably rhythmic, if not exactly danceable.

Over the course of seven short releases, we saw Demdike Stare grow more open, more vulnerable, and a little less claustrophobic. Their sound was reaching outward, grasping in every direction. It left me breathless and mildly concerned. Where were they headed? Were they out of big ideas?

I should have asked if I was just being impatient. Looking back over the nearly two hour arc of those singles, a path appears bright and obvious. Wonderland is proof that they had been working toward something huge all along.

With this album, Demdike Stare approach a more straightforwardly modern tone, existing somewhere outside of time, but at least glancing at the last couple decades. No longer do their songs rumble with the anguished ghosts of the industrial revolution. Now the music evokes its own time, twisting dancehall, jungle percussion, and urban field recordings of 1990s techno through a signature maelstrom of headfuck production techniques. Every familiar tick and groove has been subsumed in something fierce and unpredictable. It’s a hot weapon in friendly hands.

Canty and Whittaker are still experts at flipping a catchy beat into something weird and menacing, turning rigid to dreamlike so subtly that you’re left scrambling to figure out how you got here. They still craft shamanistic trips with chest rattling bass. Most importantly, their music is still deeply human.

The oppressive black shell that’s kept these guys tucked in the dark over the years finally has a few cracks. More than the pinprick dots of moving stars from their earliest releases, these are full, bright shafts of daylight pouring into the set, spilling over expanses of skittering percussion and scorched ambient pads. With the light comes a new warmth and an implied embrace. While just as defiant as ever, this is Demdike Stare at its most approachable.

After an opening track that bridges the gap between the experimental Testpressing environment and the inviting glow of Wonderland, the album settles into an off-kilter groove. Followed by a funhouse mirror of beats called Animal Style, time distorts several times before the centerpiece track arrives in surprise.

That song, Hardnoise, winds up like an old engine roaring to life, an ancient energy that rises and falls before pivoting in its midsection, flipping over some invisible fence into a crystalline dreamscape of glowing synth bells, playfully shuffling percussion, and brightly colored lights. It might be the Wonderland of the title, a space just outside the membrane of this sound world. Demdike Stare continues to pierce the veil through the rest of the album.

After twisting through some of the most aggressive drum programming of their career and exploring alien ambient landscapes, the duo reaches another bold peak. Oceanic synth pads emerge, rising up through the compressed, jagged noise percussion of late album track Airborne Latency, finally overtaking the cloudlike static wrapping the production.

The final piece, Overstaying, feels like a relentless search for an opening, pressing against the atmosphere, finding a crack to pry open and escape completely. It’s an eject button, a final push through the darkness into unknown space. It’s the kind of ending I like best, satisfying an internal arc while placing a giant question mark on the horizon.

I know that some fans might consider this newfound approachability to be some sort of betrayal, but it couldn’t be further from the truth. This is a natural evolution of Demdike Stare, the latest dispatch from a strange flight that keeps aiming higher.
smithandrew12

Johnnie Taylor / Otis Redding - Blues In The Night / Loving By The Pound as reviewed by smithandrew12

December 7, 2016
Just received a copy of this and i cant find anything wrong with the sound quality, i have never heard the original so cant compare it with that, but it certainly is not poor sound quality. Maybe at worst a little lacking in bass
henry.phillpotts

Radiohead - The Bends as reviewed by henry.phillpotts

December 7, 2016
Very happy with my copy of this pressing, flat and quiet with a good mastering.
DOCTOR_DIATRIBE23

Hardfloor - TB Resuscitation as reviewed by DOCTOR_DIATRIBE23

December 7, 2016
The blue print of how to make post acid boom uninspiring bland tb303 music........ While your off to Ibiza getting ripped off I'll be in a muddy field somewhere else dancing hard to full on acid Labworks-Djax-etc style ;)
sumake

Witch (3) - Kuomboka as reviewed by sumake

December 7, 2016
the basslines in this release are really strong (a bit overpowered imo), i played it on very well balanced equipment and i had to level it down. can anyone confirm or is my hifi-equipment not so balanced as i thought? thanks in advance. great release though, despite the strong basslines the quality of this release is really good.