Bill Laswell - City Of Light Yage_2097

May 10, 2019
From Brainwashed:

Coil's music was originally given to Laswell for an earlier project but the deadline was missed, so they used it themselves as the basis for the "Stoned Circular" tracks on the Black Light District album A THOUSAND LIGHTS IN A DARKENED ROOM. They later approved it's use by Laswell on this new project, but were unhappy with it being released on Sub Rosa due to a previous contract dispute, so they have made it clear that this is not a true collaboration.

Godflesh - Pure Yage_2097

June 1, 2018
The example with My Bloody Valentine's "Loveless" and Alternative Rock is brilliant. I totally agree.

Various - Covert II Yage_2097

January 3, 2018
edited over 3 years ago
Tracks 2: Plaid
Track 3: The Future Sound Of London
Track 5: Exm
Track 7: Plaid
Track 10: sounds like a remix or rework of A Guy Called Gerald"s "Escape II"
Track 11: Plaid

Underworld - Dubnobasswithmyheadman Yage_2097

March 11, 2016
edited over 5 years ago
Maybe Underworld did not have the rights to this song? Or maybe the master tapes got lost?

Genesis - Invisible Touch Yage_2097

April 6, 2015
Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

Kosmischer Läufer - The Secret Cosmic Music Of The East German Olympic Program 1972-83 - Volume One Yage_2097

June 7, 2013
Taken from the digital notes:
An Interview with Martin Zeichnete. Berlin. February 2013.
Q: Hello Martin, we'll start at the beginning I suppose. Where did you grow up?
I was born in Pesterwitz, which is near Dresden, in 1951. Before the war my parents had been teachers. Afterwards my father worked for the FDGB and my mother sometimes gave music lessons.
Q: Where did you begin your music career?
My first job was as an apprentice sound editor for DEFA, (Deutsche Film-Aktiengesellschaft), in the Trickfilme (Animation) department in Dresden. I learned techniques in tape editing and 'special effects' which I would put to good use later on in my 'invisible' career. Perhaps because we provided music for animated film we managed to sneak in some avant garde ideas that would not be tolerated elsewhere. Some of us saw it as a game. Between us and the state censors.
Q: Tell me about the music that inspired Kosmischer Läufer?
Although we were of course aware of popular Western music at the time, very little was available to us. Our primary source came from radio stations broadcasting from the West. Due to the geography of the area this proved difficult in Dresden! There was a station I could get from Düsseldorf that played Kosmische Musik , you know, Kraftwerk and Cluster and Neu! and so on. To me, sitting in the attic tuning the radio dial, searching for anything, hearing these beautiful new electronic sounds, it did seem like music from the cosmos. I would record it and pass tapes on to my friends. We did have people in the East doing electronic music, such as Paul-Heinz Dittrich, but I found their version of it all too studious. The music from the West was fun. It had energy.
Q: How did the idea come about?
I was a keen amateur runner and when out I would play these motorik, repetitive songs in my head. I thought somehow it could be used as a training aid for athletes. The electric pulse sort of thing. I thought it could benefit the athletes mind as well as body, the music would be hypnotic, it would bring focus. Then at work I was shown a prototype design of Andreas Pavel's 'Stereobelt' and I knew this could be possible.
Q: So how does it go from an idea to a reality?
It was not in a good way! I shared my ideas with colleagues at work but as was often the case in those times I perhaps spoke in front of the wrong person. One day at the studio two SED members arrived and took me away in an official car.
Q: What did you think was happening?
Well. I didn't know, you think of everything you have said, everyone you have said it to, but I think I knew it would be about the music. I feared I would lose my job, at the very least. It would be very bad for someone who worked on party films to be seen to be influenced by the enemy, you know, Western culture.
Q:Where were you taken?
We drove in silence to the outskirts of Berlin to what I later found out was an athletics camp. They knew all about me and my idea. They questioned me about the concept for hours then left me alone in the room. Later an official from the Nationales Olympisches Komitee came in and told me I would begin to work on the project immediately.
Q: Just like that! It seems very matter of fact?
Yes, I was stunned, but sometimes that is how things happened then. We know now that the athletic directors were trying anything to gain an advantage in those times. At least my idea did not harm the athletes. I was in a studio in Berlin the next day.
Q: Did you work alone or with other musicians?
To begin with it was just myself, the engineer and always a state official who would sit in the corner observing. The first things I tried were basically electronic metronomes at various paces with very little melody. These were tested but the athletes didn't respond very well so I began writing more 'musical' pieces. Sometimes I would be joined by a drummer and a guitarist. It was incredible, when I would explain to the musicians what we were going to do, you could tell immediately the ones who 'got' what the music was. We would be in the live room doing 20 minute space rock pieces while a government official sat bored on the other side of the glass. It was surreal.
Q: What equipment did you have access to?
It varied. We had some Western technology in effect units and such but the synthesizers were mostly Soviet in origin and could be very temperamental. The studio in Dresden had a Subharchord which I had used before on animation soundtracks, it was a great machine. I filled in many claim forms for equipment. Sometimes it came, sometimes it didn't. The Moog didn't. I do know that the athletes in the program were probably the first people in the East to have Walkmen as I saw the order for 300 units.
Q: Did you ever meet the athletes?
Not really at the time, always there was a minder there when I met with them and the coaches to discuss what they needed. It was a shame, they were my only audience. Years later, after reunification, one former Olympian I met confessed to me that he would try and swap the training cassettes supplied to him for Western music at international meets.
Q: How long did the project continue?
I would be summoned to Berlin generally in the winter to produce tracks for the upcoming athletics season. The last work I did was in 1983 doing pieces for the gymnastic team's floor performances. The project stopped as suddenly as it had started. I was given no explanation. I think it may have been due to the boycott of the Los Angeles Olympics.
Q: How did you retain the music?
Well, I was not supposed to take the music from the studio as it was state property but I did manage to sneak a lot out. I thought the master tapes had been destroyed or lost in the chaos after the wall came down but one of the engineers, who 'got' it, had rescued a lot of them. We transferred them to digital in the early 90s.
Q: Why release this now?
I made this music for people to train to. Because of the time and place I did it only a select few got to use it. I would like for more people to finally use and enjoy it. It is as simple as that.
Kosmischer Läufer Volume 1 - The Secret Cosmic Music Of The East German Olympic Program 1972-83 is released by Unknown Capability Recordings on the 3rd of June 2013.
contact: kl@tipirug.com
listen: kosmischerlaufer.bandcamp.com
like: facebook.com/kosmischerlaufer
follow: @KosmischerL

Download - Microscopic as reviewed by Yage_2097

May 27, 2013
edited over 7 years ago
Oh how I miss the times when singles and EP's were pressed on physical releases. Digital releases cannot be hold in the hand and their artwork cannot be browsed through its pages. Downloads "Microscopic" EP is such a good example of a well made EP with phantastic lenticular artwork, just like its accompanied album "Furnace". Then again it doesn't differ much in a musical sense from the album. cEvin Key, Dwayne Goettel, Phil Western and Mark Spybey again explore post apocalyptic IDM-Post Industrial landscapes, long before such groups as Somatic Responses, Hecq and the whole Ant-Zen/Hymen roster would do it at the end of the 90s. Just like on Furnace there is the typical mark Spybey Zoviet France-like track "Papa Papa Mula Cwm" and two tracks with a vocal contribution by Genesis P-Orridge. Also included are the athmospheric industrial-ambient track "Energy Plan", two alternative mixes of the tribal "Noh Mans Land" and three remixed tracks from "Furnace" by Download themselves, Biosphere and Newt (Haujobb+Forma Tadre). Fans and purchasers of the redux edition of "Furnace" will recognise, that the b-sides on this EP consist of material found on the later released second disc of the album.
This EP stands for its own and remains a well done addition to your Download collection.

Skinny Puppy - Weapon as reviewed by Yage_2097

May 26, 2013
Skinny Puppy return with a new album after a very short break (about 2 years). It's no surprise that it is released on Metropolis Records since SPV's near bankrupcy. And it seems a good placefor the band since Metropolis menaged, on one hand, to release some of SP's side project albums (especially the Vault 2 releases) and, on the other hand, to release more and more quality albums of good artists which do not have a cheesy and corny EBM/Future Pop background (Meat Beat Manifesto, Pop Will Eat Itself). But how does SP sound after a 30 years spanning music career? Well there is always the danger for such long living bands to repeat themselves in their sound or to become a self parody by trying to incoporporate new music trends in their repertoire. SP choosed a go back to their roots. And this decicision was a good one because it nearly removed some of the stranger and cheesier oHgr-sounds from the band's post brake-up/reunion sounds, especially the expanded use of heavy guitars. Back to the roots? Yes indeed, some of Weapons tracks ("Salvo", "Survivalisto" and the rerecording of "Solvent") sound like they were directly taken from Remission or Bites. A very pleasent treat for fans old Puppy. In a recent interview, Ogre explained that "Solvent" didn't get its fair chance on the Remission album because Ogre didn't nail the vocals well, and since he had some singing lessons in the 90's he choosed to cover this track. But don't worry, it has a very good crisp and stands for its own.
The usage of old equipment path it's way also through the other tracks like the melancholic mid-tempo track "Wornin", the electro stomper "Plasticage" or the digital madness which is "Tsudanama". The rest of the tracks are solid and seem to be well constructed. The whole album itself feels homogenic and coherent, while the song-writing remains solid. The one thing i would rant about is the album artwork. Steven R. Gilmore should really overthink his latest graphic concepts. He can do it better ones.
Meanwhile Weapon marks a welcome return to SP's roots without being a total repetition of their old sounds. A pleasent electro-blast for your ears and angry souls. Give it a try!

Skinny Puppy - hanDover as reviewed by Yage_2097

May 13, 2013
And yet again Skinny Puppy seem to encounter problems with their label. Originally scheduled for release in 2009 Handover's release date was pushed to 2011 because of the (nearly declared?) bankrupcy of SPV.
It's unbelievable how much similarities Handover's creating process shares with the release problems of The Process in 1995. First of all the label problems which obviously inspired the 2010 tour name (InSolventSee Tour) and even the album name (Hannover in Germany where SPV's headquarters are). And by "handing over" this last effort, SP seems to complete the contract with SPV (the next album "Weapon" is released on Metropolis Records). The next similarity is another death surrounding the band, the death of special effects and drum technician Sasha Coon, to whom "Ashas" is dedicated. Finally we have the music similarities between Handover and The Process. If Mythmaker had a ton of ideas frickled together partly in one song, Handover's concept is more laidback and dancy ("Icktums", "Gambatte") with some more guitar driven tracks ("Cullorblind", "Vyrisus") but still leaving some room for more experimental tracks like "Mr. Brownstone". Key and Ogre mentioned in interviews that just like the Brownstone track, the initial concept for this album was much more experimental, even noisy. Part of the original concept and tracks would be later used on oHgr's album "UnDeveloped". All righ all good. Unfortunatelly Handover suffers from one serious problem: the usage of already used samples and recycled sounds. Listen closer and you will recognise that "Wavy" uses the same guitar chord as "Jaher" from Mythmaker, "Vyrisus" uses partly the same drum parts as "Politikil" (also from Mythmaker) and Village starts with the same explosion sample as Download's "Glassblower". If a band starts sampling themselves in this way, it's not a good sign. Well I guess that the label problems resulted in the partly half-baked nature of some songs which also seem to be produced in the last minute to fit a normal album lengh. The biggest example for this rush is "Noisex" which was originally a Bananasloth demo released on it's myspace page. Key only added some vocal samples of Ogre and layered them over the breakcore beats. The decision to release the track as a SP song also revealed Bananasloths identity, which always left the question who the person in the huge Sloth costume on Otto Von Schirach side is.
But regarding this flaws and the label problems, Key and Ogre still delivered a solid album with a strong songwriting, a fantastic usage of retro synths and a deep love for strange experimentation. Lets wait for the the next album which (from what I heard) has a back to the roots Remission style.

The Tear Garden - The Last Man To Fly as reviewed by Yage_2097

May 10, 2013
edited over 7 years ago
The Tear Garden's second albums marks a futher development of a music project originaly started by cEvink Key (from Skinny Puppy) and Edward Ka-Spel (from The Legendary Pink Dots). The first album "Tired Eyes Slowly Burning" conistet of this two main members and sounded very much like a Goth Rock/Ethereal Electro version of the first Skinny Puppy and Legendary Pink Dots albums. On this second output the Tear Garden became a "big band" like mentioned by Edward Ka-Spel. With the addition of LPD masterminds Phil Knight, Martijn de Kleer and Ryan Moore it's not a big surprise that the sound of The Tear Garden became more psychedelic and rocky, just like the LPD albums from this time. And we should not forget the addition of Dwayne Goettel from Skinny Puppy, who in cooperation with Phil Knight make a very good electronic mastermind duo. Not a member at this time was Niels Van Hoorn, which is imho a small loss, because his qualities as a saxophone and flute player would fit very well in this allready outstanding album.
Like I mentioned before this album markes a strong departure from the electro sounds of it's predecessor adding a strong psychedelic feel by adding mostly organic instruments. Especially Martijn De Kleer guitarwork makes " The Last Man To Fly" a beautiful homage to Pink Floyd without being a poor copy of their sound. Dwayne Goettels synth and piano works are as always top notch, especially on "A Ship Named 'Despair'". But again the project draws it's strengh from Edward Ka-Spels lyrics and the fantastic, precise collaborations of the former bandmembers, leading to close friendships them. The tracks fell more like jam sessions and some of them even are ("Empathy With The Devil", "The Running Man"). Some jam portions even have small appearances on Skinny Puppy's album "Last Rights" from the same year. Indeed even the topics have a similar apocalyptic/melancholic vein.
Like I mentioned in a review for "Last Rights" the time around 1992 was a very dramatic and drug influenced time in the lifes of Key and Goettel and even "The Green Guy" (SP's supposed hash dealer) is mentioned as a member for this album. So it's not a surprise that this album sounds like a cosmic trip, but in a damn good way, matching the beautiful cover artwork perfectly.

Sandwell District - Feed Forward Yage_2097

May 7, 2013
A truly fantastic album which deserves it's broad recognition. Sanwell District's "debut" is not your standard repetitive berlin-style minimal techno crap. This is techno with deeper facettes, at times recalling the ambient techno heydays in the mid 90s although with a harder modern touch. A perfect soundtrack for your post-apocalyptic party in a destroyed metropole. Fans of the newer albums by The Black Dog and the latest offerings by Surgeon take a note.

Images In Vogue Yage_2097

April 29, 2013
A nice example of a typical short living synth-pop band of the 80s. IIV however should deserve a much better reputation as only being the band in which cEvin Key was the drummer before forming Skinny Puppy. Dale Martindales distinctive voice, Joe Vizvarys synth work and some good hooks/production by the other band members will always be a nice nostalgic edition to your 80s collection. Quality pop from Canada for Roxy Music fans!

Autechre - Quaristice Yage_2097

April 28, 2013
edited over 7 years ago
This edition is by far the biggest low point in the history of Warp's music catalogue. After the obligatory music changes which happen every decade (in the 00's it was the year 2003) Warp lost their edge as a cult label by signing stupid indie-rock bands and letting their main masterminds (Autechre, Squarepusher, Nightmares On Wax) release disputable albums in terms of progressive music. Well at least we have Chris Clark who managed to be something like a new Aphex Twin mixed with Thom Yorke. Between 2005 and 2009 Warp managed to release only two memorable groundbreaking releases limiting them tw only 1000 pieces. The first one is imho the best mix by Surgeon ever released called "This Is For You Shits" showing how modern techno should sound and not fearing to mix in some classic industrial and power electronic acts. The second one is this release. Well the standard issue contained some fine and and interesting pieces like the fantastic ambient track "Altibzz" (a welcome return to Autechres ambient roots), the dynamic "IO" or the detroitesque "chenc9". The later two tracks allready appeard in slightly differnt version in Autechres live sets dating back to 2005 (see the Montreal or Glasgow bootlegs from 2005) which also makes the term "new material" questionable. But the standard issue has futher problems. A big part of the tracks are more like sketches of ideas, the more interesting tracks, as mentioned above, are too short. Go to Bleeps webpage, download the tracksnippets with an online mp3 grabber, put the tracks on a cd and you have the same effect as on the standard issue of Quaristice. But lets be honest: how often do we listen to Autechres tracks from albums like Draft, Untilted, and Confield from start to end?
The second "Versions" bonus disc works much better as an album, expanding some of the stronger tracks to "full versions" and showing how a standard Issue of this album should sound like. But only the lucky 1000 people owning this special edition will hear the full album. Well, the question still remains: why did Warp made this special edition and limted it to 1000 pieces? Is it because of the manufacturing costs of the beautiful steel package? I don't recall that similar packed albums (PiLs second album for example) needed to be this limited. Is it because that this edition should be a piece of art? Obviously yes. But do we need in times of stupid music, digitally available everywhere, such special editions? Should music like this one found on the Quaristice Versions cd be available to more people, teaching them how modern IDM should sound like. I guess everybody has a different answer to this question. As an Autechre fan (and there are definitelly more than 1000), I personally feel apaled. Special, limted or even sacred editions by genius musicians are a not a good sales-policy (a fact which always ennerved me regarding COILs work of art). This is not the time for special editions, this is the time to make great music accessible to everyone, to show todays kids how music can and should sound.
And good music will never loose its special value, even if it is available to everybody.


Throbbing Gristle - 20 Jazz Funk Greats as reviewed by Yage_2097

April 5, 2013
No Jazz, no funk, no greatest hits.
Those who previously never heard of Throbbing Gristle and were tempted to buy this record erroneously assuming that it's a TG greatest hits album will definitelly have their own listening experience of a special kind!
On their third release (originally released in 1979 on their own Industrial Records label), the pioneers of industrial music appear at first sight quite catchy and audible than on their previous and subsequent publications. The entirely electronically generated sounds, partly made with homemade instruments are disturbing and destructive and do not claim to entertain. They are about alienation, refrigeration, isolation in the industrial age, with no hope of redemption.
At the time of this albums release TG were allready called "Wreckers of the Civization" by politics and media in the UK. Well, the group members never claimed to produce music in the traditional sense for entertainment, but rather sounds and noises as a means of transmitting informations and to and use the same to put the information monopole of the public media in question.
Electronic sounds / rhythms of synthesizers, sequencers, drum machines, distorted voices are the foundation of all 11 (and not 20) tracks on this album. The emotionless voice of Genesis P.Orridge seems to be froma another world and is represented on the majority of the songs.
With "Hot On The Heels Of Love" (with the sexy voice of Cosey Fanni Tutti) is a surprisingly catchy and danceable piece for underground discos (later it was even remixed by Carl Craig being on of his favourite tracks) and the instrumental "Walkabout" in the style of the early Human League reveals to be even catchier.
But beware, it is advisable not to scratch at the surface futher, only at your own risk!

Coil - Horse Rotorvator as reviewed by Yage_2097

April 4, 2013
edited over 7 years ago
The second "real" studio album of these exceptional musicians (when you think of Coil, do you think of music?) represents a mature work in every way. The opener, "Anal Staircase", also available in a slightly different version on a 12'', is already such an emotionally dense work that inevitable images arise in the listeners mind - no mater how you would describe this images, the use of the adjective "beautiful" probably depends on the judgment of individuals. But the consistent break with existing listening habits is why Coil gathered a small but tight-knit community around them. Completists should note that the two B-side tracks of the aforementioned 12" ("Ravenous", and "Blood From the Air" ) are included on this CD (as opposed to the vinyl edition). Without commenting the whole tracklist, the track "Babylero" should be pointed out, which is a sound collage based on a Spanish folk song that continues to drive the concept of "mental images in the head" yet further. As on their debut album (at least the CD edition) this one also includes a song-cover, this time Leonard Cohen's "Who by Fire", which (imho) is inferior to the depressing atmosphere of their "Tainted Love" cover.
But the most fascinating thing about this album is, however, its artistic unity - and that despite the fact that the mentioned "bonus tracks" are not a supplement placed at the end of the CD, but well integrated into the overall concept. With its different view angles musically and lyrically describing the depths of the human soul this album represents a work of a different kind clearly influenced by classic magic(k) and its further development.
Please note that this is by now the only authorized issue of this album. Hopefully it will be reissued by Threshold House soon.

Tangerine Dream - DM3 - Dream Mixes Three: The Past Hundred Moons as reviewed by Yage_2097

April 4, 2013
On this third Dream Mixes sequel Edgar and Jerome Froese have again chosen the (by then) latest technology to produce this album (including Steinberg Softwares). Here Tangerine Dream exclusively experimented with techno, breakbeat and drum'n'bass elements and successfully continued the Dream Mixes project. Though sounding a little bit dated and maybe too late by incorporating sound styles which already had their peak in the second half of 90s, both father and son managed to show their musical abilities with modern electronic instrumentation and knowledge (unfortunatelly missing nowadays by artists close to the hipster and synth-revival scenes).
The nine songs on this album, for example "Stereo Light" or "Blue Spears" fascinate and impress with yet unheard tones and sounds. Tangerine Dream even sampled their older classics like "Logos", "Poland" or "White Eagle" into the songs. This can easily be seen as a lack of creativity or an artistic repetition but I guess this was intenionally made to remind new listeners, that TD had their artistic peak in the 70s and 80s. This is not a groundbreaking release, but it's still enjoyable for old and new fans and a good lesson for those newbie-artist, how to incorporate beautiful synth-melodies in modern dance styles.

Bvdub Yage_2097

February 5, 2013
Bvdub - The Merzbow of lush ambient.

Cabaret Voltaire - Hai! Yage_2097

October 1, 2012
"Hai" was recorded live in Tokyo in 1982. It is their first live album, after Chris Watson left the band to form the experimental group "Hafler Trio" with Andrew McKenzie.
Musically speaking, the album still conists of the old Post-Punk/Industrial/Experimental-Rock experiments. This time Stephen Mallinder plays a funky bass guitar with Alan Fish (Hula) taking the drummer duties. The lead guitar is as always played by Richard H. Kirk, which in its sound is somewhat reminiscent of Pink Floyd's "Echoes".
The sound quality of this live album is much better than on the other Cabert Voltaire live albums from the early 80s. Now the paranoid, not distorted vocals by Mallinder and the sick guitar riffs (especially on "3 Days Monk") by Kirk come more to advantage and thereby create a horror-like atmosphere in the songs.
Among the more darker tracks are definitely "Walls of Kyoto" and "3 Days Monk". To the rather more experimental songs include "Yashar" and "Taxi Music" both played in new versions. The CV hit "Yashar" with its oriental synthesizer melodies and drums is the climax of "Hai", which in my opinion is the far better version than the studio recording.
"Over and Over" and "Diskono" are among the more melodic and accessible songs of the album and show to some extent, in which the new electronic music style on their next studio album "The Crackdown" would go.
Unfortunately, the overall recording time is about 44 minutes, so much more songs could fit on the CD.
Nevertheless, "Hai" in my opinion a very good live album and a very successful completion of CV's first rough (Industrial) music phase.

Oriol (2) - Night And Day as reviewed by Yage_2097

August 28, 2012
edited over 7 years ago
I came across this album on Planet Mu website by coincidence. I was intrigued by the beautiful esthetic retro artwork.
I was surprised by the music. I expected a good Dubstep album, in the vein of the latest Planet Mu released. To my surprise, beautiful intelligent house beats with pleasant funky retro synth pads began to come out of the speakers. No dubstep at all. Oriols debut sounds fresh and innovative, like a modern soundtrack for the Sonic The Hedgehog Adevnture game from the 90s.
Hopefully the album will not be overlooked as it is a damn good chill out album.

Kenny Larkin - Catatonic Yage_2097

May 18, 2012
edited over 8 years ago
Detroit Techno fans seeking great music know that occasionally browsing the singles instead of albums of their masters sometimes reveal unexpected jewels. And here we have an example of it. The First State Mix was already great on have Kenny Larkin's "Metaphor" LP, and continues to be a Detroit Stomper. Carl Craig as always gives us a great mix with funky and mechanoids ryhthms. But the winners here are the rest of the tracks. Stacey Pullen gives us a very good mix of pure Detroit Electro, but the outstanding track here on this single is Larkin`s Second State Mix. A calm and chilling track with fine and gentle melodies. I think that this mix is a few times better than the First State Mix and is not only one of the best songs by Larkin himself but one of the best in the whole genre.
If Detroit Techno would be a fancy cake, than this single is one small but very delicious piece of it. Enjoy!

Autechre - Oversteps Yage_2097

May 17, 2012
edited over 7 years ago
In 2009 I was truly horified by one of the worst news: The Designers Republic, the legendary group of designers whose work for me personally is the best thing that could happen for the contemporary art since Kasmimir Malevich's discovery of Suprematism, are broke. The global economic crisis made it all possible. That was surely the final nail in the coffin of a once great label called WARP, which has literally killed itself more or less with a more poppy music fixation since about 2004. This decline was crowned by questionable decisions, eg the limited (to 100 pieces) version of Autechres previous album Quaristice. Within 12 hours it was sold out (price around 30 pounds). The rest of the fans stood dumb by having the wonderful option to buy either the stripped-down standard version of the album or the special edition (packaging made of steel) from clever traders who bought up more pieces of the special edition to offer them for horenden prices (300, 400 or even 1,000 pounds). The question is, what has even persuaded Autechre to participate in this regard (easy money??). However, one should forget the past and sometimes forgive. The year 2010 seems to be full of surprises.
The best news right away: The Designers Republic is back. Thank God! Yes! This time with an artwork that looks like a variation of the artwork of AFX´s Hangable Auto Bulb compilation. The second good news: no more LIMITED SPECIAL EDITIONS. Great! Ok, but will this black hole painted on the cover swallow ourselfs with its music? Yes, definitely. With Oversteps, Sean and Rob released one of their most melodic albums since ... hmmm, Tri-Repetae? Fans of Autechre already struggled to describe the sound of Autechres past albums, because the group always tried to move the boundaries of innovation in modern electronic music.
Let's try to descibe Oversteps:
Oversteps is like (Terminator 2 fans take note) a "mimetic poly-alloy", music like liquid metal. Take the concept of "Eutow" (intricate, catchy melodies, simple beat), mix it with the Autechres latest music detours (Untitled, Quaristice) and the atmosphere of Confield. But don`t be misled the title of the album: Oversteps has nothing to do with the latest UK music style called "Dubstep". As always Autechre create their own sound far away from common music structures. Many beats on Oversteps sound simple melody jumps. They are organic, but on the other hand also artificial. "known (1)" for example sounds like an artificial clarinet session. Then "Ilander" boasts with "evil" melodies and beats. If you take a close listen to "O = 0" you might think to hear a tuba and between "d-sho qub" and "st epreo" a human chorus seems to sneak in. Tracks such as "r ess" or "pt2ph8" then again invite for a simple chill. Unlike Quaristice, the beatless ambient tracks (of which "Oversteps" consists for the most part) are no longer simple sounds and minimal soundscapes (in the vein of Pan (a) Sonic), but of beautiful sloping melodies which take the listener on a journey into future worlds. Influences of some of Autechre's favorite bands, like Coil and Throbbing Gristle are quite noticeable, but Sean and Rob still stay true to their distinctive indescribable trademark sound.
If they could only "step over" to such labels like Rephlex, Skam or Planet Mu which did not sell out....

Stephen Mallinder - Pow Wow Plus Yage_2097

March 13, 2012
edited over 9 years ago
My god, this album is great! I thought that only Richard H. Kirk was the puppetmaster behind the sound of Cabaret Voltaire. I was proven wrong. Stephen Mallinder's solo work succeeds easily the brilliant post-punk-industrial sound of such Cabaret Voltaire masterpieces as "Red Mecca" or "2x45".
The album itself consists of the "Pow Wow" mini-LP album (1982, Fetish Records) and the 12 "single "Temperature Drop / Cool Down" (1981, Fetish Records). The CD version was released in 1992 by Mute's sublabel "The Grey Area". A good choice for a label which constanlty (re-) releases outstanding industrial music material. Therefor the sound of Pow Wow is no surprise: tape reels, samples, metallic percussion, synthesizer, distorted voices, a little bit dub and ambient here and there. Added to this is the typical CV groove of Mallinder's bass guitar. A outstanding track here is "Del Sol" which sounds like a mini-soundtrack to a horror Western. The song sounds relatively "straight", yet it's a great post-punk track.
If you miss the old CV sound you will be, without a doubt, served with this album.

Richard H Kirk* - The Number Of Magic Yage_2097

December 17, 2011
"The Number Of Magic" is Richard H. Kirks second LP released on Warp Records. As with his other projects around this time (including the last 3 albums of Cabaret Voltaire) Kirk explores further the classic ambient techno style with portions of Dub and tribal world music samples. As one can possibly imagine and if we rgard that this album was released in the year 1995, one can easily imagine the typical sound of this eras IDM/Ambient influenced sound. Nevertheless the album is not so much innovative and sometimes repetitive with tracks that seem too long at some places. On the other side it's still capable to give the listener the opportunity to escape aurally to future worlds seen in such movies like "Blade Runner", "The Fifth Element" or "Cowboy Bebop". It's a good alternative for friends of The Orb or The Future Sound Of London. Listeneres of the Fax label or labels like Rising High will definitely like this album.
Standout tracks and personal favourites are: "Atomic" and "Poet Saints Revolutionaries".

Skinny Puppy - Last Rights as reviewed by Yage_2097

December 14, 2011
edited over 8 years ago
First of all: Skinny Puppy’s “Last Rights” and Coil's " Love's Secret Domain" are the most progressive electronic music album at the beginning of the 90's one can possibly imagine. If one considers which music at that time was labeled IDM (Intelligent Dance Music), see Warp Records for example, their music appears such as child quark compared with the albums of Skinny Puppy and Coil. Do not understand me the wrong way, I love IDM and WARP, however SP and Coil experimented with multilayered sounds and Samples approximately 6-10 years before such producers such as Autechre or Richard Devine even had the idea to produce highly complex music at all. Regarding “Last Rights” I must say that it’s a surreal monster and a personal soundtrack to an atomic apocalypse: energy-laden, cold, sad, destructive, melancholic, dirty, fast, slow…none of these terms can fully describe the dark atmosphere of "Last Rights". Nevertheless I have personally two associations with two films also developed at the same time which convey a similar dark and hopeless atmosphere: Terminator 2, Alien 3. However “Last Rights” is and remains an indescribable album. Whether it’s the opened „Love In Vein“ (with synths recalling Coil’s “Anal Staircase”), “Killing Game” (where Ogre even dares to make a ballade), the powerful and my personal favourite “Inquisition”, the sad “Riverz Ends” (actually a new enhanced mix of "Rivers" and "Choralone" from the Rabies LP) or the noisy sound collage “Download” (which casts a shadow on Merzbow’s ever same and repetitive “music”)……all tracks do convince. The live drums and samples of cEvin Key and Dwayne Goettel are ingenious, the music harmoniously with soft transitions and multilayered, partly hidden sounds. Ogres vocals are at their highest peak with powerful lyrics which were so personal that he decided not to print them in the booklet. Also not mentioned is Martijn de Kleer synth contribution on “Download” recorded without his knowledge during a rehersal to the Last Rights session, additionally underlining the “freestyleness” of the track. Careful listeners will also recognize previously recorded sounds for the “Too Dark Park” album and Tear Garden’s “Last Man To Fly”.
The time around “Too Dark Park” and “Last Rights” creates the zenith of SP’s creativity, unfortunately also of their drug abuse, and all of SP’s fans do know where this did lead. Urban legends even tell, that under the sound layers of “Knowhere” a heroin shot by Ogre can be heard. However, the truth is that this album describes mourning, fear, aggression and suppressed feelings in such a good way that I would not recommend it to listeners which suffer from depression or a had a really bad time.
In contrast to this and talking about sadness or disappointment, all owners of the first original us pressing of the CD will be angry as hell because the track-index was set at the wrong places and that means that every song starts with a 30 seconds delay.
Technically not imperfect but artistically very much, is the omission of the 10th track which is also mentioned in the booklet. It’s called “Left Handshake” and contains speech samples of Dr. Timothy Leary which lead to licensing and copyright problems leading to finally to the fact that the song was not pressed on the final album. Fortunately it was later released on a limited to 1000 pieces cd single called “Track 10” on the Doomsday Festival live in Dresden in the year 2000. The german and european versions of the “Back & Forth Vol. 3 & 4“ compilation also do contain it, especially the one with the cat# SPV 085-22402 DCD. Demo’s and different versions of this tracks are also floating on the internet. Oh and don’t forget to listen to the B-Side to “Inquisition” called “LaHuman8” from the same sessions.

All in one a great album showing that Skinny Puppy don’t fit in any musical cliché, especially regarding the various “black scenes” (and I don’t mean the afro-american ones ;) ). A true germ which took (imho) the original experimentalism of classic industrial music to new and interesting and maybe more accessible grounds, remaining haunting, creative and honest.

Hula (2) as reviewed by Yage_2097

August 1, 2010
edited over 10 years ago
Dear God. Please let a good label buy the rights for the releases of Hula, remaster them and rerelease them on CD. These early compatriotes of Cabaret Voltaire deserve more (just like Chakk). Yeah, you can allready buy the remastered mp3s/wavs from some very well known online shops but a cd, a booklet with old photos and a nice small biography (see the LTM reissues of the 23 Skidoo backcatalog) would do Hula a favour. Fans of Cabaret Voltaire, Fad Gadget, Portion Control, Tones On Tail, Front 242, Skinny Puppy take a note!
Sheffield: the birth place of forward thinking modern music. Do I need to say more?