Datacide 17 Record Reviews by Christoph Fringeli

HFK
[Rouge de Colere 11]

The Toolbox sublabel reserved for the fast and hard sounds is back with one of its best releases yet. The four-tracker starts with some mental hypnotic hardcore which would also fit in a more out-there tek set, then starts evolving into more speedcore inspired experiments. It’s not that extreme and comes of as quite rounded, but evolves with multiple listens to a great addition to the catalogue.

Molecule SCAM vs. HFK
[AcidNight 20]

The first side credited to Molecule SCAM is an epic digital acid excursion with nice progressions, but definitely nothing outside of the genre. This is what happens on the flipside where HFK is giving the old Jones & Stephenson track The First Rebirth (released in 1993 on Bonzai) a manic flashcore workover. Of course it’s tongue in cheek, but since I have no nostalgic feelings towards early 90s hard trance I find it hard to get into, although I can imagine there to be the right moment at a party for mixing in and out of this track. Pretty good is the final track where hardcore, speedcore and broken elements in the beat structure are combined with nervous bleeping loops and descending hisses. Overall a welcome addition to the Acid Night catalogue, especially with its genre-bending tendencies.

Cyclic Backwash
[Neurotrope NRT039]

Very prolific in the last couple of years, Cyclic Backwash appears on Neurotrope with a varied 3-tracker. Most interesting is the a-side with its combination of acid lines, resonating stabs and psychedelic progression with a slightly broken beat. [Read more →]

Datacide 15 Record Reviews by Christoph Fringeli

lustmordthings

Lustmord
Things That Were
[Vinyl on Demand, VOD117]

The first self-titled Lustmord LP appeared originally on Nocturnal Emissions’ Sterile Records in 1981. It is one of the classic releases of a particular phase in British industrial music whose sound is defined by outfits such as S.P.K., Nocturnal Emissions, Bourbonese Qualk and others. It could be said that these and other bands/projects represented a “second wave” after the trailblazers of Throbbing Gristle and Cabaret Voltaire, continuing a grim sound, reflective of the hostile environment of Britain in the late 70s and early 80s.
In 1983 the Sounds-journalist Dave Henderson compiled a nice overview of this scene in the form of The Elephant Table Album, creating a snapshot of that scene as it was already drifting in different directions, be it more dance-oriented strategies or a more dark, ambient noise vein.
Things That Were, released in 2013 by Vinyl on Demand as triple LP box set, collects Lustmord’s material from before that date. The first of the three LPs is a remastered version of the aforementioned first LP, the other two records collect bits from various compilations (including the Elephant Table) as well as several live- or studio-versions and unreleased tracks. This is long before he became well known for his soundtrack-like dark ambient style, with the one exception of the last track of the third record, which anticipates his departure from the rawer and harsher sound of the early years.

FFF/Champa B
The Burial/Jah Jah Dub
[Lickshot 007]
A two-tracker on a stamped white label 10” shows FFF with Champa B in a more quiet, reggae-influenced mode somewhere between Jungle and early Drum’n’Bass. On both sides the beat remains rather steady and there are no surprises or ravetastic elements as you might expect, but it’s not too cheesy either.

Hellfish
Stage Invader/Tek Hater
[Deathchant 75]
Deathchant reaches number 75 with the man Hellfish battling it out on two 45rpm tracks in his familiar style combining some breaks, start-and-stop techniques and EQ-tweaking with the trademark fierce 4 to the floor pounding. Since number 70 all Deathchant releases have been by Hellfish. Perhaps he figured he might as well just put out his own tunes if he can churn them out at this speed to keep the pressing plants busy (and still find time to make releases for PRSPCT). Now none of them provide new revelations, but I don’t think that’s what they’re made for, they seem to be happy to be just solid kicking Deathchant releases.

Liza N’Eliaz/Laurent Hô
[S.O.D.O.M. 001]
S.O.D.O.M. stands for Slaves Of Devil Our Master and was a label run by Armaguet Nad in the late 90s. It never completely stopped, and after some long gaps there were two releases again in recent years, most recently – January 2016 – the number 001. [Read more →]