Reviews

Datacide 14 Record Reviews by Zombieflesheater

Istari Lasterfahrer
Walls Cave In On You
(Sozialistischer Plattenbau)

A very interesting 12 inch we have here. From acid electro breaks over more abstract modular synth experiments to noisy dub and dubcore you get a good insight into the diverse works of Istari Lasterfahrer. The B3 track Pourquoi Moi is my favorite tune, combining dub echo, sirens, vocal snippets and rolling jungle breaks to a real instant classic tune. The record is neatly packed in a psychedelic full coloured sleeve together with an A2 poster in the same style, limited to 250 copies and pressed on white vinyl.

John Pain + Egadz
Sinking Swimmer
(Luana Records)
Luana Records from Bern, Switzerland are releasing experimental hip hop, raw downtempo and similar music in strictly limited runs of vinyl and cassettes, and as downloads on bandcamp. This 10 inch contains 7 more or less short instrumental tracks with distorted heavy drums that sound like a real drum kit, surrounded by noisy synths and bass. Menacing and dark, illbient-like. Limited to [Read more →]

Datacide 14 Record Reviews by David Cecil

Romare: Meditations on Afrocentrism and Love Songs: Part One
(Black Acre)

Invoking demons from West Africa, old soul and blues, Romare coughs up unclean electronica that is as old as it is fresh. Footworkin’, hip-grindin’ bass for the dance floor and a collage of ethnomusicology samples for the brain/scratch.

Batida: Alegria EP
(Soundways)

Disarming Portuguese cheese that makes old ravers dance despite their jaded palettes. An irresistibly funky Angolan guitar melody that stinks of glorious sunshine. Soundways are pushing forward their African house/bass vibes to the masses while maintaining integrity. [Read more →]

Datacide 14 Record Reviews by Nemeton

Ontal: Combat Engineering (Overdraw 01)
The newest release from the Serbian duo of Boris Noiz and Darko Dekode is completely storming and definitely matches our hopes since following Ontal’s music and mixes with great interest for some time. It is great to hear this on vinyl. A1 Combat Engineering is a searing, ruthless, grinding track with hard-hitting beats and industrial noise; A2 is a remix by Tomohiko Sagae, whose mixes are superb. B1 Lithosphere is a gritty, pounding abstract tune, and B2 ends it hard with Taphonomy. Definitely recommended!

Eschaton: (Token 38)
This is the first release that brings together Ancient Methods and Orphx. The tracks have been kicking around online in mixes and such for quite some time, so it was great to see the vinyl release finally come out in January 2014. Eschaton played live for the first time at Berghain in mid September 2014. We are huge fans of Ancient Method’s grinding, industrial techno, and we were greatly impacted by Orphx’s early releases on Hands like Vita Mediativa and Fragmentation on Malignant, but are less interested by Orphx’s more straight style of techno production of the last years. A1 Age of Iron is a solid techno track with a nice groove and full-blown bass; A2 Degenerate is a more subdued sound, with a slower and slightly off kilter tempo. B2 Seven Signs is the most abstract with expansive reverb, interesting clips, clinks, and other metallic sounds, which lead up to the dance oriented crescendo. This release has a lot of [Read more →]

Datacide 14 Record Reviews by Christoph Fringeli

No-Tek: Neurotrope 029 (NRT029)
Neurotrope has been churning out a fair number of releases and is celebrating its 10th birthday this year. Compared to most other French labels with roots in the tek scene, their output is more varied with releases touching on industrial techno and breakcore as well as hardtek and hardcore. Number NRT029 collects four tracks under the No-Tek monicker, this time this means two by Minimal Dancer remixed by La Foudre, and two by La Foudre himself. Here he goes way back to the feeling of the early No-Tek material, and you would be forgiven if you feel like you’re time travelling to a teknival in the mid-90s where bare kick drums and sparse noises fill the air shortly before sunrise. The final track The Rhythm of the World is slightly more up-tempo and melodic. Overall this is a less experimental or harsh release than some of the La Foudre material on No-Tek’s own label.

Parasonic:
The Invisible ZMK EP
(Rouge de Colere 10)

Rouge de Colere has been Toolbox’s more hardcore oriented label since the early days when they set up their distribution in Paris around 1998. Early releases were by Sammy, Speedy Q’s, Fast Forward, Heretik – and a white label only 12” by Radium which never made it to the trademark red vinyl general release. In 2002, a record by BudBurnerz was the high point for the label, but then it ceased production for a decade, and it wasn’t until 2012 when it made a comeback in conjunction with Toolbox picking up pressing more releases again including their other labels (Peur Bleue, P’tit Gris, Toolbox Killerz, and more recently Acid Night). Since the hiatus, [Read more →]

Datacide 14 Record Reviews by Kovert

Dead Fader – Scorched – (Small but hard 03)
Scorched was released at the same time as ‘Blood Forest’ on Robot Elephant.
While ‘Blood Forest’ was presumably intended to showcase DF’s tender side, bringing back some bad memories for this reviewer of accidentally listening to some dodgy IDM tunes, ‘Scorched’ is a mostly nice heavy set. Creeeep‘s the big cut here. It first caught my ear as one of the stand out cuts on the excellent 3by3 label mix a couple of years back. A 140ish miltant smasher with a grinding b-line and snappy snares. Also worth checking are the beatless pieces like Danger zone which have an eerie Tarkovsky feel.

Dead Fader – In cover – (Robot Elephant 18)
Curious development: a vinyl release with three reasonably dull cuts in a meldodic IDMish vein that’s worth finding for the two distorted ear bleeders that are included as a ‘bonus’ download. Mandel and Ceaser were apparently leftovers from the ‘Scorched session’, and are two massive overdriven off-cuts. Would’ve made a heavy 7″: Ceasar getting the balance between tension and release exactly right, with an expectant, offbeat intro that cuts to nothing before smashing back in with an overdriven half-step rhythm, that’s too short, but begs the rewind; and Mandel slowly modulating disconcerting vibes under crunchy distorted breakstep drums, that weirdly ends with a minute long fade-out.

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