20 October 2014

B-Ball Joints - Dog In The Night 04 (Dog In The Night Records ‎DIN-004 - 2014)

Rushing to the pitch with four inflamed tracks, this is how B-Ball Joints debuts on US-based imprint. Really no idea what is the deal with the dog and the night, but the label, so far mostly known for the acidic tools by Robert Crash, keeps putting out blasting material.
The opener "Joint 1" is the fiercest affair, a mugging and noisy assault of enraged drum machine and darkcore textures for waking up the dead. Wobbly synth pulses carry a special operation called "Joint 2" while the next joint sounds like a mutilated ghetto track with delirious screaming before the session folds with brief abstraction "Joint 4.
As the artist identity remains undisclosed, we can only guess if it is an L.I.E.S. affiliated maverick or somebody else who is fond of dissonant hardware jams and proto-rave ugliness.


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15 October 2014

Transllusion - The Opening Of The Cerebral Gate (Tresor Records Tresor.270 - 2014)

Deep respect is due when encountering the works of late James Stinson, an acclaimed personality in the evolution of (Detroit) electro. Departing our world far too early, Stinson left behind a vast legacy, of which Tresor Records reopenes another chapter. "The Opening Of The Cerebral Gate" under the Transllusion guise was originally out on the label's short-lived Supremat offshoot in 2001. The new triple vinyl encompasses 12 tracks for observing the movement of cranial neurons.
Opened with fast brain-scanning session "Transmission Of Life", Stinson's entire creative spectrum, from Drexciya and L.A.M. to Other People Place, is present all over the album. Some tracks deserve a special mention, like "Cerebral Cortex Malfunction", a stereophonic bliss of Glockenspiel. From the uptempo side arrive groovy electro acid "Gluben In Guyana", interstellar night-drive "Dimensional Glide" and menacing roller "War Of The Clones" while glaring beauty is found in "Walking With Clouds" and "Unordinary Realities". Two versions of "Do You Want To Get Down?" round off the whole thing.
With the album, Tresor follows up the mission of Clone Records, which detached the works of the epochal Detroit act from the isolated shelves of hard-to-find record collectors and brought out the four-part series "Journey Of The Deep Sea Dweller". Unlike Clone series, the Tresor reissue does not feature any unreleased material - although four tracks are first time available on vinyl - but electro fans can indulge themselves. On top of that, thee-tracker "Mind Over Positive And Negative Dimensional Matter" is reissued too.

Stream the album in full at Factmag.com.


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13 October 2014

Various - ...I Care Because You Don‘t (Turbo Recordings Turbo163 - 2014)

Scottish two-man techno act Clouds have found an inspiring haven in Canada when releasing their debut album and four EPs, including two takes of "Tannhauser Acid Works", on the Montreal-based Turbo Recordings.
Now Calum Macleod and Liam Robertson are ready for another round, this time as curators of "I Care Because You Don't", a massive rollout of UK hardcore stabs and electro hop. Current four-track sampler is an appetizer for a full compilation, out at the end of October, and in addition to early UK influences, the sampler recalls the sounds of long defunct Pharma label.
Rogue beat session opens with "Roll Up Your Sleeves, Welcome to the Dance" by DJ Hesburger (fellas, do you know there is a Finnish burger chain called Hesburger?) while in "Berzerkerz (Hardcore Young Team)" Dance Company goes back to the foundations of UK breaks.
At first instance, Clouds' own industrial stepper "Blood Skating" sounds like Aphex remix of Curve's "Falling Free", but considering the title allusions (remember "I Care Because You Do"?) and fresh comeback of Richard D. James, this is more than justified. Jane's "Fuck Your Alliance", going like a struggling machinery on drained batteries, signs off the sampler with estranged acid pulses and dissonant beats.
What concerns Turbo and its boss Tiga, I had been somewhat misled ever since the Canadian emerged on DJ Hell's Gigolo with sweetish electro cover of "Sunglasses At Night", performed with Zyntherius aka Jori Hulkkonen. By the way, it is a cool tune. But for a long time I sincerely believed Tiga and Turbo keep cultivating electroclash only, which is not true.


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09 October 2014

DUST OFF: Johnny Violent - North Korea Goes Bang (Earache ‎MOSH 128 T - 1994)

Actually, it was "Ultraviolence", Lana Del Rey's album that triggered current post. The American lady singer is obviously light-years away from doom metal and even hardcore techno, which had never been the case for Nottingham-based Earache Records, once a home label for Napalm Death.
Somewhat surprisingly Earache went hardcore in the 1990s when signed Jonathan Casey. Performing as Johnny Violent and Ultraviolence, the UK-born artist landed in the gabber scene 20 years ago. Casey released albums like "Life Of Destructor", "Psycho Drama" and many more but the most thrilling track was "North Korea Goes Bang" under the J. Violent moniker. At the BPM rate exceeding 150 the ear membranes were damaged.
Casey, his father a theology professor, his mother an author and charity activist, got excited about punk and metal at the tender age of 11 and started experimenting with computer sounds. “I did not want go through a lengthy process of learning an instrument when computer allows to produce interesting noise rather quickly”, he said in an interview to Frontpage in 1996.
After feeling the appeal of acid house, he proceeded to the music which is even more aggressive and intense, but also more emotional and funny than punk. “Two first words in my debut in 1991 were fuck you and this was quite unusual in love & peace & happiness scene of that time”, Casey has recalled.
Earache, a local label in Casey’s hometown Nottingham, agreed to listen the demo tape but Casey insisted he would play DAT. He took his portable DAT player to Earache’s office and signed with the label two days later.



““North Korea Goes Bang” does not mean I want war and this more like a comment about the way how the war is presented on TV as entertainment. North Korea as a track theme is as cheap entertainment and this is the idea behind.” (Johnny Violent, interview to Frontpage (DE), 1996).

Ultraviolence website
Ultraviolence on Soundcloud
Johnny Violent on Discogs

08 October 2014

Aisha Devi - Hakken Dub / Throat Dub (Danse Noire DN004 - 2014)

Already topping my Juno chart in August, Aisha Devi's blistering EP deserves a closer look. Foremostly known as Kate Wax, Devi gives a new meaning to girl power on her own Danse Noire imprint.
The Swiss-born, half-Tibetan producer, once a regular in the roster of Mental Groove, offers in the new release plenty of sound variations.
"Hakken Dub", a homage to hakken warcry of Dutch gabber scene, is a razor-sharp cut, with Julee Cruise-like whispers, recalling the heyday of Planet Core and raising the appetite for hardcore revival. "Throat Dub (Tool)" is like didgeridoo and Tuvan throat singing placed over sliding drone textures for a beatless ghost story audition.
The flip is dedicated to reworks, starting the one by IVVVO aka Ivo Pachecho, whose version with house layers and cosmic vocals gives a new meaning to "Hakken Dub". Like leading a fledgling brass band, Jamal Moss turns "Throat Dub" into the "Hieroglyphic Being Experience 9" of winding riffs and rumbling percussion, in his common 10-minute format.
Beyond a doubt, Devi's EP is an excellent follow-up to Danse Noire's first vinyl, arcane Maghrebian dubtronics by El Mahdy Jr..


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02 October 2014

Various - V - Five Years Of Artefacts Chapter 1 (Stroboscopic Artefacts SA5YEARS01 - 2014)

Lucy's Stroboscopic Artefacts is making some noise to mark the label's fifth anniversary, and what could be better than invite an illustrious company of techno producers to the celebrations.
"Chapter 1" opens the five-EP series with Rrose's fluctuating builder "Drowned By Sight", which complies with the act's blueprint sound, surfing on ebbs and flows of synth textures.
Perc's "Tri-City" is not as loud as the recent co-op with Truss, but brings a brazen groove to the midfield for another cut of oxygenous techno.
Introducing the B-side, Pfirter's "Atman" is a nod to the bass domination while Lakker's "Pier" is the EP's Geheimtipp, as they would say in Berlin. Kicking off with abstract mumbling and matched by percussive clutter, it's pushing the pedal of metalloid noise for uptempo delight.


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29 September 2014

Stanislav Tolkachev- Right Angle EP (SEMANTICA 65 - 2014)

In a blind test, "Like No One Is Watching" sounds like the opener of a Terrence Dixon EP. However, the credit for the track and entire EP goes to the Ukrainian producer Stanislav Tolkachev, now increasingly listed among the top players of contemporary techno.
Tolkachev's distinctive, jittery style has not always won my heart but now it's different. The new EP on Semantica is full of passionate programming for heating up the floor; just take "White Blood Cell" and the title cut "Right Angle" for that. The last one, "Past", is more restrained while marching amidst the haze of dubs.
All four cuts assure Tolkachev, hailing from Ukraine's fourth largest city Dnipro-petrovsk, has chosen the right angle and another proof of that is found on the new Geophone mini-comp.


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