Record reviews from Alien Underground 0.1, the second and last issue, spring 1995, by The Warlock, Flint Michigan, Sentinel, CF and others.
The Destroyer Part II
(Riot Beats 5)
Just like pt.I this sequel to the very first Riot Beat 12″ is very hard noisy breakcore. The sounds on labels like this (by the way a Force Inc. sublabel) and DHR (see label profile in version 0.0 > page 12) are definitely heralding new developments in their fusion of hardcore, breakbeats, hints of acid & noise. Riot Beats has a bit a broader spectrum, from the more poppy Space Cube releases to hints of (jungle-) ambient to the heavy metal breakcore of the ATR 7″ – field with incredible potential for experimentation and developments. CF
(Riot Beats 6)
A 10″ that’s fairly good drum & bass, mixes well with UK jungle on the a side, incl. nice disturbing bass, very playable, while the flip is just too leightweight. CF
(Riot Beats 7)
While the original mix has its moments – not something I’d play though – the Space Cube rmx is silly leightweight fare, the Speedfreak rmx yet more happy hardcore… The cool cut here is the Alec Empire rmx that’s in the vein of his Destroyer or DHR releases, hard hectic & fast noisy breakbeats. CF
(Riot Beats 8)
Carpets of synths I would usually consider dodgy, but on closer inspection you discover lots of little bullet holes caused by these snares; also very junglistic w/ ragga samples, the works, but the beats & arrangements are incredibly clever > check! CF
Merciless breakcore noise > dark > hectic > hard + an excellent addition to the Digital Hardcore catalogue, a sinister memento mori, where fear meets excess. As the old saying goes: Kill Kill Kill for mental health and inner peace. CF
(Dance Ecstasy 2001. DE 22)
A 4 track compilation from the people who ARE Frankfurt, starts with another Go Voodoo mix from Ace The Space, then a Headshop track; the winner though is the b side with a wonderful minimalistic acid tune by 303 Nation and a massive new T-Bone Castro track: BIG! CF
(Dance Ecsatsy 2001, DE 24)
Even at their silliest, PCP are still more fun than most. Dance Ecstasy is their label for party tunes, and has produced classics like T-Bone Castro’s Bitches and Ace The Space 9mm. Not as prominent in the Hall of Fame, Steve Shit is a concept in this context; he’s rumoured to start his own label Durchfall soon. CF
(Shockwave SH 505)
4 very ravey happy gabbe type stompers with speeded up vocals, a bit of 303, a bit of guitars, the whole superficialformula, and ultimately not very interesting at all. Disappointing after his o.k. Psyche Out Outerbass EP on Monotone.
More happy hardcore from Shockwave, but this time it has more of an edge to it, hard + fast with quite a bit of distortion on the bass drum, and the silly bits are bearably marginalised; full on speedcore.
Destruction of Speed City
I got this new double pack as a Monotone white label, but I think the proper release is due on Shockwave (as Monotone seems to have gone under) Of all the ravey speedcore records that came out recently I guess this is a favorite, but then again it’s annoying because it would be so WICKED if the ravey element (kiddie factor) was missing. Clever arrangements, good production etc… starts off with a kind of Speedfreak theme tune to mutate into the rave-gabber-acid he’s famous for, w/ silly speeded up pop song , then “We shall never surrender” lifted off an old Laiback record. Second side starts with more orchestral madness and a few bars of deceptively half tempo, ca. 125bpm b4 blasting into speedcore oblivion, unfortunately gets soaked in ravey nonsense later, so have the next track ready (better be fast) The second record suffers from the same syndrome, but if you’re into that sort of stuff, then you’ll love this; also check the porno rave tune on side c!. Generally I prefer the stuff he does as Biochip C, or his records on his own label, the newly formed Napalm.
(Disko B DB25)
Techno has been around for a few years now, and while some people look back to acid (1st time round), other seek different inspirations from the past. Disco for example. Funk. Jazz. THE SEVENTIES. This, I guess is much less absurd if you live in Vienna. Pulsinger is the man behind Love The Machines, and maybe his coolest works are reserved for Cheap Records for one reason or another. The a side here starts minimalistic funky with Construction Tool and ends charming with City Lights (Birthpain). Viagem is more a typical Disko B tune that probably most DJs will prefer to Construction Tool (unfortunately). City Lights II works with a 70’s loop from some jazz rock record; plus dodgy organs & stuff – but I prefer Jimi Tenor in this territory. But growing up with 70’s Austrian TV is bound to have some after effects.
Jeff Mills / Dave Ckarke RMXs
(Disko B DB26)
“Hell ärgere Dich nicht” it says, & I don’t think he will, even though both remixes sound more like trax by Mills (Allerseelen) / Clarke (Hot in the Heels of Love) than Hell tunes. This is underground techno at its most commercial, or the other way round, and I keep hoping that people who still buy trance will finally wise up to this. Still has an edge but you’ll look in vain for something really new.
Three Degrees Kelvin / Like That!
(Magnetic North 14)
Nice hard sound on 3º, good for slower techno sets, the kind of track where you can stay tuff and accessible at the same time. Like That! is selfconsciously old skool, and I don’t really see the point. Made me put on Phuture’s Spank – Spank to check an original voice-sample-all-through-the-track-track, but then I used to like Slam much more anyway. So I wish Like That! wouldn’t keep saying Like That! as it has its moments of pleasing heaviness. CF
Maybe Cheap is conspiring to make people wear polonecks again and be absurdly polite; watch reruns of old black & white crime series; drink their coffee with a glass of water & contemplate suicide but never seriously.
Whatever the case, Forbidden Planet is another excellent record from Vienna; Cheap eliminate some frequency in the middle to achieve a sound with a full bottom and clear treble > & they’re funky + weird.
They even manage to do a disco track without being tacky, but with subtle irony. But then this is even kinda hard in places, trash-house with disturbing synth attacks; dark electronic disco for happy aliens. CF
This EP is the work of Alan Oldham who runs the Generator label as well as providing those cartoon graphics for the D-Jax label. Generator has been receiving a lot of attention lately that coincided with the release of the Generator compilation on Kickin. This EP carries two interesting dance tracks on the flipside, but the title track, whilst supposed to be a hard track, fails miserably: an annoying sub-rock motif and uninventive percussion ensure this. Spectra on the other hand has more of a retention span with its breakdowns and gradually added layering and X-Tension is carried by a rolling flanged bassline extended over 16 beats.
Just the style you would expect from Jeff Mills’ mate. Minimal drum patterns abound on this double pack. Absolutely excellent, not the smallest smattering of cheese. All the tracks mix together perfectly. Slight industrial overtones on some tracks but all monotonous enough to be implanted in your brain forever. Trying to describe this double is hard. Brillant. Sentinel
Another out of Chicago record from D-Jax and this is a real stomper. On Move and Rubberman Band the snare and hi-hat rushes are held in by a heavier drum sound which, whn added to the overall distorting effect and murky production make for a darker groove. China Jazz with its 2 chord movie strings and discordant piano plinks, whilst lacking a hard edge, weaves impatient percussive patterns with low bass notes seeping in at the end. The attraction of this EP lies in its unpretentious simplicity – a subtle overloading of the house paradigm – and in its appreciation of the social magic of dance >>M>>O>>V>>E>>
James Pennington responsible for the classic Art of Stalking returns here with a double pack on Underground Resistance – the first of a series of sonic strikes engineered by UR. The logo carries an outline of Afrika in red and black which is surely a message to the predominantly white euro techno scene. Anyway, the lead track here is Midnite Sunshine and true to style it walks a line between the popular and the underground – using a ravey house style with e-head utopian strings it wavers off course through the use of tight, compressed piano jabs, mutant wah wah sounds and dirty production. A subtly aggressive track. Elsewhere there is much more techno voodoo: the hip hop acid of Acid Africa, the way the cymbals cut in on the kick and drone-driven Mau Mau, the aural incantation of Mind of a Panther. Flint Michigan
The Player here is Russ Gabriel who we normally associate with Ferox records. His earlier 1.O.N.1.C release under the guise of VCF was a much unsung EP in a hard smooth, euro-detroit style. This 4 tracker is in a more mid-paced harmonic direction. Jack Doff and HC-2 are in a chicago vein with the latter being initially stripped back but building into wistful melodies and the former, the hardestedged, being a definite floor filler. Bubble Man provides the staccato acid and Rake is perhaps the most obscure as it sounds like Giorgio Moroder. Flint Michigan
Disciples of Belial :
Songs of Praise
Noises which celebrate the reversal of Christianity, Satan’s Law. It is a law unto itself and a religion to which the Desciples of Belial are dedicated in their apparent determination to break down British society as it exists today and indeed to bring about the destruction of all Christian values. In this way their nefarious activities impinge upon every aspect of our lives. This evil 7” has absolutely no mercy on your soul. Ha Ha Ha Ha.
Friend of Hecate
Rich in Paradise Vol 2 (Riot Row Records)
Assasins and headhunters rousing the principle of evil, setting up a fatal vision of the banal, seduced by forms that play with one another and by things that transgress their own limits. But seduction is not the locus of desire ( and thus of alienation ) but of giddiness, of the eclipse of appearance and disappearance, of the scintillation of being. It is an art of disappearing, whereas desire is always a desire for death. This record reveals that the discourse of truth is quite simply impossible, so kick out the jam, brothers and sisters.
Jean Baudillard, 121 Rue de Jacques Mesrine, Paris, France
Bad taste Vol 1 (Shock Wave Recordings)
Instantaneous explosions, the sudden flare of assassinations, the paroxysm of speed, shattering of the mirror of travel, an internal war machine, this acid armed assault bespeaks a refusal to resist, the administration of fear, an exalted acceptance of the end, a perversion of the right to live into a right to die. Yeah, full on hardcore onslaught, the exterminating angel is only the exterminating engine, which now eludes everyone’s control. It is your duty to seduce others.
Paul Virilio, c/o POB 568, Brooklyn NY 11211-0568 USA
Swamp Terrorists: Brainfuck (Disturbance)
Incredible sonic environments for performing peak experiences. Outlaw music that makes mutations audible. Accelerated channels of desire that dissolve into the absurdity of excess. Uncontrollable repetitive rhythms with no origin, no focal point, no interior, no exterior. Listening to this, we were seduced by the art of disappearance, provoked into taking a risk on slavery or freedom, gambling on the hope that capitalism can’t write.
A very diverse EP consisting of: 1 Hard track, 1 hard breakbeat/techno track and 2 slow breakbeat tracks with one of them containing a distortion box vocal? The techno track is a bit bog-standard, the best thing the dark-breakbeat-with-a-driving-kickdrum. Definitely ignoring musical boundaries. Very good. Sentinel
Forged in hell by the Speedfreak, aka Biochip C etc, this is also his own label obviously designed to give him the freedom to go as hard & experimental as he wants. Dark heavy analogue scapes and shapes create a poetry of excess that’s passionate and dangerous. The stakes are high, you’ve reached a point of no return.
Burn baby burn.
Industrial Techno! Hoorah for something original. This is truly nosebleed music for people with titanium coated skulls. Mega hard beats (that can almost destroy the best sound systems – believe!) and extreme noises make this music for the apocalypse. 5 tracks of possibly the hardest stuff you will have heard for a long time. If you think you have truly lost it – then this is for yopu, but if you are of the nervous disposition or frighten easily avoid like the plague. Simple really. Sentinel
Koenig Cylinders II
After their classic 99.9 they’re back with more wonderful noises flying about, fast-light-hard at the same time without being any of it denying classification, and I could see everybody loving this. Everybody should.
Created by John Selway (Spy) and Oliver Chesler (part of Temper Tantrum), who also record as Disintegrator, and therefore responsible for some of the greatest american techno…
Big pounding excellent drum & noise techno, hard and with an experimental edge, but still quite accessible which seems to sum up IST’s line, the Industrial Strength sublabel that’s far from the Trance the T stands for, and increaingly becomes a guarantee for cool techno.
Nightmares are Reality Pt.III
(Overdrive, Over 060)
There used to be a time when new Overdrive records could be reasonably expected to be cool addition to a dark and adventurous set (> Cell-U-Loid, early Mark NRG, Synchroflash … especially Walk On Base by C-Tank was a record that broke all the rules of happy rave conformism by offering an at the time incredibly hard and dark atmosphere, sounds and construction. After the follow up The Base Is Back, the first volume of Nightmares appeared and along with Biochip C/ Speedfreak’s The Nightbreed is Back completely destroyed all limits of speed in techno.
There was something truly exciting, demonstrating that there are no limits, the perfect soundtrack for urban techno guerrilla parties, and for a while some DJ’s constructed whole sets around this double pack. The C-Tank sound is a sort of speedcore trance made for large warehouses occupied for a night, frequencies for mutation, the fearful anticipation of ecstasy.
Volume 2 appeared some time after and could only make small steps forward – “Speed will never die” it was declared, and it got faster, but after the quantum leap that the first one was, there wasn’t that much progress possible, and some may argue that the latest offering presents even less, taking the BPM back and not really adding that much in terms of sound and structure. – But this may be the wrong way of looking at it, and it certainly would be unjust to argue that this was just a rehash of old ideas; the fact that their older records still sound contemporary should distract from the quality of Vol.III (and even less it should be held against them). The beat programming is as great as ever, the noises remain inspiring, penetrating the brain in their wicked ways, cool collection for the discerning hardcore DJ.
Probably one of the most awaited releases this year, C-Tank finally come up with the 3rd installment in their Noghtmares series and this can only please. Ultra-hard cold futuristic techno that is bloody marvellous! 11 tracks, all banging with one a breakcore track. Personally I think this is better than part II as the pace seems to have slowed down a tad (ir is it just me??) and gone more for extreme beats and noises than your run-of -the-mill breakneck gabba boredom. Hopefully this will be the way forward for ’95. If you can find this double pack, buy it.. Sentinel
The new 12″ by who’s reportedly France’s best hardcore DJ > Laurent Ho. Excellent hard stompers, these are amust for all DJ’s in search of tracks that avoid the tacky rave-isms of a lot of dutch gabber. It’s much more interesting, groovy and credible like that, presenting a mature sound that’s very danceable, avoiding the shock tactics of GTI and being less experimental that Explore Toi, but still exciting enough; of course I’m not trying to judge these records against each other, nor do they necessarily come out of the same scene, but they do make it impossible to ignore french hardcore any longer.
Ho’s material is recognisibly made by a DJ > almost perfect for a cool hardcore party set = More please!
Gangstar Toons Industry
Ever since the Free Festivals started happening in France a healthy hardcore scene has started to develop, and with some smashing records coming from there this year we can expect a lot in the near future. What the Gangstas cook up here is relentless speedcore with plenty of samples from eclectic sources (speedmetal, hip hop, house, pop, movies etcetc), very short pieces [20 tracks on this 12″!], all incredibly fast, wonderful splinters of uzi poetry.
Gangstar Toons Industry
The sharp shooting speedfreaks are back with a second action packed slab of uncompromising hardcore. The average speed is about 230 BPM>> these are exercises in the art of disappearance in pure speed to the point of vertigo and standstill. Another 19 tracks of guerrilla warfare on vinyl. From death metal riffs on merciless 4/4 bass drums to the fastest breakcore around. Buy!
While some elements on this EP make the impression of being a sort of poor man’s Lory D, the majority of the tracks offer a welcome addition to your collection of experimental italian techno. Four tracks not adhering to the four to the floor beat that are worth checking out if you like labels like Sysmo, SNS etc, a whole genre of twisted rhythms and sounds that has defined the italian version of techno more and more over the last couple of years, and pointed out one possible development for electronic dance music, by somewhat neglecting the dance element, and prioritising a sort of ambient-hardcore crossover that’s still very rhythm oriented, not by pumping them, but by cutting them up, and let them counteract the noises that are often very soundtrack oriented.
A double 7″ on blood red vinyl featuring the four ‘artists’ Edmund Emil Kemper, Henry Lee Lucas, Theodore Robert Bundy and Kenneth Bianchi, not that they ever collaborated as such, they occupy a side each.
These are recordings of America’s most notorious seriel killers talking and speculating how & why they did what they did best.
“I’m not an expert, I’m not an authority, I’m someone who has been a murderer for almost 20 years”, starts Kemper whose confessions are the most clearly recorded, best edited and most scary. A double 7″ of amazing documents by these people that should in some way be interesting to everyone curious about the dark side of the human condition, and certainly a must for readers of Answer Me!
Henry Lee Lucas:
Q: “Why did you kill her?”
(KillOut, Killit 16)
While the secret history of KillOut would potentially make a little expose in a forthcoming issue, and the bottomline might be that there’s anot very credible label with some credible artists, something Richie Anderson and Brandon Spivey certainly are. As you guessed by nowWah Wah are A.simetrik under another name. As always a nice looking picture disc, this record stays true to their earlier hard acid/techno offerings. The Buddha face turning at 33 1/3 rpm >>> leading to the Turbo Zen, one that still asks to be taken further, even though this has class and good production; if you dug their wicked live PA at Dead By Dawn (as a.simetrik), then go get this.
KX Noizesystem develloped out of the notorious Kiwisex most famous for their “Homefucking is Killing Prostitution” campaign, but also their early records that almost give them the position of pioneers in some sense, often not recognised, which may have to do that they’re based in the deep south of Germany while of course all the attention is always absorbed by the Metropolis’ of techno, Frankfurt,Berlin, Köln.
Matrix Fire comes in 3 mixes on this EP, plus the track speed in the head, and are trancey techno , but with an old skoolish sensibility and heavyness, which is the saving – and charming element. Don’t expect anything too hardcore or experimental, just nice pumping minimalism.
“Use Drugs before they use you”, is what they say.
303 Motor Lodge
More minimalistic trax that still avoid the tacky hardtrance cliches nor featuring any of the typical 303 workouts you might expect, offering a very reduced and basic sound of bassdrum and bass; as such – like a lot of old acid tunes, + not meant in a negative way necessarily – not going anywhere, therefore depending on what you do with/to them in the mix.
This will come as some surprise for the followers of Anibaldi fashion. Dismissed on first listen, this double pack soon beckoned further analysis after a mild dose of herbal intoxication. Four sides, four tracks. All of which develop the spooky ambience that is often the theme of Leo’s b-side tracks. Although ambient in origin , each cut perfectly encapsulates a club like beat and suggest lengthy running mixes with each other or as dj mix tools with others.Fusion 2 invigorates most but all will excite. 9/10.
RHYTHMIC RIOT – PSYCHIC EP ( DJAX-UP-BEATS)
Another absolute must for the box. Wierd tripped out shit is the order of the day here with Neuracoustics 202 surely being one of the hardest outings for Djax for sometime, and what a stormer it is as it overdoses and overloads with a cascade of fat, spongy analogue noise crafted by a new duo from Essen, Germany. Perambulate absorbs the mind for a different venture with its menacing frequencies, while Cyber MS 20 offers a mixing nightmare with a scatty sense of tempo. 10/10. Warlock
ORDEALS IN SOUND
A great double pack hails the return of Vector with a variety of styles to please plenty. Much of the plastic lays down a hard driven Euro sound, slackening off for a moodier excursion as The trap and Ozel reach their peaks. Venture to the C-side for the hard edged quality and be swept away by the spangled Prototype as well as the distorted Stamina that surely has to be one of the best acid tracks of late. 8/10
IO – RELEASE\ SUSTAIN ( CHEAP )
At least thats what I think it’s called.Once again a double pack but the first for Cheap records to celebrate it’s tenth release.The slab headed ‘Sustain’ deals with house beats and a freak out mentality of squeaks and squibbles demonstrated with Don’t eat the yellow snow and T.T while Station to station after an intro taken from a conversation on an american subway erupts into a lush workout of spastikesque drums. The other half headed ‘Release’ winds things down with the gangster groovy jazz thing called Ilibre! and a whole side of nothingness wallowing in bass. Cheap at twice the price! 9/10 Warlock
This title track offers a swaythe of sunny dreaminess while it’s second mix and killer bees dwell in high energy trance but don’t buy it for these, buy it for ‘It’s in the game’ . Definitely on the increasingly popular old skool tip but with few extra beats per minute and a jungle load of bass to match, one simple acid line is all it takes. 8/10 Warlock
Colin Dale’s label launches into action taking the world of his Kiss FM shows into the vinyl dimension . Disco 2000 provides a club soundtrack of deep work it rhythms ably assisted by rapid fire hi-hats for that irresistable feet moving result, and plinky sub bass for a the full blooded feel. Full Tilt on the B-side slows things down, building with the wierdness and then lightening up with dreamy Detroit synths while Konisk continues this theme but with a more quirky nature. 9/10 Warlock
Fourth release for Mike Ink’s label. At that forefront of nurturing a new angle on minimal techno with a presentaton of an empty yet squeaky clean sound. Faint frequencies blend with repressed beats for a really close effect demonstrated by Autogen and Autonym both demanding full on volume. Halogen and Motor Funk step things up opting for a harder yet still uniquely original sound and a suggested purchase for something different. 8/10 Warlock
Three slices of small toy techno are the order of the day from this Colonge based DJ. Biberry Curd itself steps through plinky analogue before erupting into an eerie set of nervous synth work and Bonus Curd is the same but loses most of the beats while preserving the darkness. the b-side offers a lone rider entitled Take this with an emphasis on tweaking the lengthy acid throughout. 9/10 Warlock
Five and a half tracks. Double pack. Plain orange sleeve. Marbled bluey green vinyl . Laid back mind twisting experimentalism at it’s best from Zero one and FdG. Program nine and switch trigger impress most with their spine chilling quality while tracks like E.O.X. v2.0 and E.O.X. v 3.1 subtley unfold in their own unsuspecting way.Altogther a classic double dose of wild minimalness. 9/10 Warlock
STROBE JAMS PART 4
The PCP acid unit return once more with an e.p of serious intentions only, all originally recorded between 92 and 93 . Opening up with the moody Barcelona, tense strings are the vital ingredient that kick it into action, however for the real dark matter venture to the flip for Acid Storm which sounds encouragingly similar to an earlier DE realease ages ago from Strongheads by impersonating its predecessor with vintage hoovers set amidst lashings of modulation. 8/10 Warlock
JUSTIX IN THE CITY EP
Hard deranged beats combine with experimental and industrial theories for an uncomprimising 4 tracker from the ACV sub label. Justix takes techno into a different dimension by employing only a kick, but an awesome one at that, with the
drive supplied by distant mad swirls as opposed to top end percussion. Swap and The Dungeon are more swirls of a similar nature but with more unorthodox drum programming while Kaos Engine is just an intense energy trip of gushing acid durge. 9/10 Warlock
Once again Praxis exposure the talents of an unkown artist providing 4 cuts of sublime production complete with smart stereophonics. A1 clanks and clonks aided by a screeching identity while A2 provides contrast both with its dark grooves and moving strings tempoed by a drugged bass drum. B1 is more outwardly banging with a pucka whistling hook while B2 is easily the cleverest cut with its undecided bpm and clock ticking structure. 10/10 Warlock
MANUEL AND CLIVE
This label is really beginning to build something of a cool reputation for itself, and this release certainly keeps the flag flying. The title track offers a re-invention of trance with its stop -start arrangement and warped keyboard work, while Molecules has to be the best cut, with riveting percussion that drops into a great acid line. Bounce Factor is similar though working at a slower pace gives it a stodgy feel. 8/10 Warlock
LIQUIDS AND METALS
Mark Gage at the controls taking time out for his Vapourspace work. Overall a strong EP whose merits can be found on dat side with Mercury Expansion employing a fresh selection of rare sounds and tapping rim shots while Liquid Dimension deals in biting broken up noise tamed by a thread of clean drum work. DJs beware, the symetrical stereo split of this track leaves an earful of distortion in the left headphone. Have fun! 10/10 Warlock
Caustic Visions proceed with their crusade against mediocrity with another installment of postindustrial psychedelic paranoia. Very minimal this may be less hard edged than its predecessor (see A.U. 0.0) in its acid leanings that dominate a couple of the 7 tracks but there’s no doubt that again they manage to create a record that totally rules. It’s unbelievable to me how the UK ignores its talent, but then maybe not. There is a sick attitude in most of the music- and “lifestyle” press that music has to be kitsch to be compatible to the sad lives of people, but we don’t think so. While a thinner and thinner veneer of glamour is given to the next disposable merchants, there is quite a lot of stuff that’s rather interesting. A reason to make this magazine, to read it, to like records like this. The evolution of the CV sound at this stage makes me prefer the purely atmospheric/experimental trax to the ones with beats, but in any case, this is a must to check. CF
We Equate Machines With Funkiness
There is something of an irony in the title of this EP. We would usually equate funkiness with the degree zero of slap bass and horn sections but here we have four tracks of futuristic funk that we equate with a kind of dislocated dance. There is a chaos in Ninja – a spiralling off from the control of the oddly accented 4/4 beat; in Your Body the current vogue for Chicago is pressed on by a jumping-needle beat and carried on by the 2 note trigger-insistence of Audio-Morph. The last track, Bug 3, is perhaps the lead here: rising and falling with plenty of background detail.
Whilst not as cynical as Warps earlier release of a box set auf Autechre remixes this 4 mix single marks the return of LFO and is as good as it is disappointing. The acid and electro mixes don’t quite make the pace – what was so innovative about their ’91 release Frequencies was that it went about its bleeping business whilst the rest raved to messianic strings – these two mixes are formulaic workouts in comparison. The original and sweep mix on the other hand are where it’s at – broken and built, hard and soft, as soulful and commanding … as ambiguous as the Sacher-Masoch implications of the tape loop.
Chaos and Julia Set
Wicked breakbeats and b-lines this is a quality release that is ruff! No cheesy samples or dodgy ragga style breakdowns. 3 tracks A-side long slow build up to heavy time stretched beats. Other side first track very melodic with the best beat structure I have heard in ages! Last track is more a standard affair. Sentinel
Executioner’s Song EP
Two very different excursions from the stable of Technology Park. Former’s accompanied by a 6-page story!! (if you would like a copy get in touch with me) that goes with the track ‘Executioner’s Song” and believe me the story is dark talk trying to get a message across! THe latter is 4 mixes of the same track. “Feline” all different BPM’s and intensities. But personally I have to go with the “Terror Mix” which is the one for the hard-heads, all tigers growling and stuff. wicked! Sentinel
The 7 Prophecies EP
7 tracks of various madness, this is a good value ep at there is something to please nearly everybody here. All of them are 303 based and all different BPMs and are separated by some gog-like speaches about Satan, Hell, Death etc. Very good first release. Sentinel
The experimental side of R&S bring out this 3 tracker. Although not the newest record reviewed, this is worthy of review, the best track being the first with good frequency and a stomping beat. The other side is a much mellower affair. Worthy. Sentinel
Chapter One EP
Skulls & Crossbones
(Cold Rush, Lost 8)
Typical Cold Rush release along the lines of Rave Creator etc (see review in last issue). “Show ‘Em” is a wonderful dark rave hymn; it’s slow in BPM terms even for Cold Rush, but with the trade mark irresistible hook and sinister pounding bass drum. This gets complimented by three more tracks in a Doom TranceHell Rave mode, which this time (I think) were made by Stickhead. Future in CR City points towards all the all night parties that will happen in 95… Cold Rush should be big, watch out. CF
World’s Hardest Kotzaak
Stickheads 2nd for Kotzaak is a step up from ‘Slaughterhouse in intensity and a kind of brutalist sophistications that few gabber/hardcore labels reach. This is one of the records that transcend gabber in true gangsta style. Terror Breakz is banging4/4-breakcore crossover, speedmetal elements brutalise other cuts, while Sanctuary is slow grinding metal hop. I’m basically waiting until the youth of america discovers this sound. PCP will become millionaires after all. Will make the Dead stand up and walk. CF
Pure + Hoschi
First release from DJ Pure’s label Loopthat promises to become a thing to watch out for and after Main Frame’s demise could quick be the #1 austrian hardcore label… Monotonous pure underground acid , slowly building up, on the How Life Sucks side and very cool super-monotone bassdrum plus noise cut on It’s OK that totally rules. Tiny noises drilling little holes into the membranes of your brain while the rest of your body is synchronised to the 4-4; no escape. CF
Pure + Liza N.Eliaz
While Killer Bees on Acid wouldn’t be out of place on Drop Bass Network, Tube Travel goes a step further into the unthinkable. Structures dissolve and your grip on reality loosens… it’s like when you realise the acid you took was far stronger than you thought.
But after getting the feat you start discovering patterns of a new existence and everything becomes pleasant and wonderful in its apocalyptic dimensions. Check this out while you’re in this world. CF
Lenny D & Rob Gee
(Ruff Beats RB001)
Ruff Beats is Lenny’s new label for collaborations with other artists, and for this first installmenthe teams up with Rob Gee for a track in the Brooklyn Gabber way that has dominated the Industrial Strength sound for the last few releases. The B-side is made up by a track each by the 2 that they produced independently. You’ll like this if you like Gabber Up Your Ass etc, but hopefully RB will present new directions and insights in the future. CF
More angry gabber from Brooklyn. Nothing new in terms of sound & structure; driving hard party tracks from the man behind English Muffin. Weak for I.S. CF
100% No Soul Guaranteed
(Industrial Strength 030)
The 30th release on IS is another double pack that sort of picks up where DOA left off, but this time from Australia. A furious mixture of gabber, breakcore and overdriven noise, this at least in parts manages to transgress the usual US-gabberisms of late. Not a new Spy or DX13, but still guaranteed to make your nose bleed. CF
Realm of the Psycho Slugs
If you look at what good techno there is, and start finding out that behind many names often the same person stands, you realise how few producers there are providing us with the often most interesting tracks. One of them certainly is Biochip C (>The Speedfreak, RIC, Napalm, Phase IV, Biobreaks) who is responsible for some of the coolest acid to come from germany (see his numerous releases on DJUngle Fever), an ability he demonstrates again on this 4 tracker for Force Inc. delivering one of their coolest recent 12″s. Slower and not as radical as a lot of his other stuff, this is still on the cutting edge. CF
A full length CD release with no info at all except the word Acid on the CD itself, while there’s no cover or inlay card to stare at. That’s good. What’s even better are the sounds that are in a rough real acid mode, just analogues and drummachine for more than an hour which works well; if you had your ears open then you’ll find out that this is by Brixton (see last issues review of the 12″). If you have a DJ-CD-player, or don’t want to get up all the time to turn over the records, and like proper acid, then buy this. CF
Don’t Fuck With Chicago
(Drop Bass Network 017)
Second Hyperactive on Drop Bass brings more analog hardness, but also shows him from a more mellow side. The Don’t Fuck with… tradition is continued with another very long insistent track (checkCologne > review in last issue), but the track that works for me is the second on the bside, where he gets more experomental in a hardcore mode. CF
Sync Jack Trax
(Drop Bass Network 016)
Adam returns with four solid hard acid trax in a Brooklyn stylee that fit well on Drop Bass, and follow up the X-Crash release (DBN 9). Epect a label profile of these midwestern noisemongers in the very near future.CF
Again it’s the B2 track, Dark Jungle Mung, that does it for me here. A very metallic experimental onslaught that suddenly plunges into pseudoambient silence to build up slowly into furious bashing, very groovy in a Tetsuo kind of way. CF
Disintegrator are back with this 4 tracker that may be surprisingly mellow for a lot of people, considering their early tracks were definitely hardcore leaders of their time, which applies also to the later endeavours of John Selway (the classic SPY) and Oliver Chesler (Temper Tantrum). This here im much more subdued but the quality is there and confirms again rising suspicion that IST is the label to watch out for as long as Industrial Strenth (its sister/mother) keeps releasing things like Totally Cained.
There’s always substance in Selway?Chesler tracks and this is no exception. CF
Produced by The Jackal for the Legions of Doom
Who am I to review records that I’m somewhat, well, involved with, but then again, why not. 5 trax on colored vinyl with no info except what’s scratched into the vinyl, this is minimalistic driving hardcore with the tracks well playable. One side opening with the most acid oriented assault at around 180, rupturing various body tissues when pure noise takes over for a while before the non-303 acid kicks back in. Stark beats and atmospheric darkness on the following slower track, while the whole second side was produced with the most limited equipment imaginable, and it grooves in a disturbing way. Bass overload and screeching analogue vertigo, the day of the Jackal has come in the twilight zone of sweat and noise. CF
Still acvtive, still on the road, still triggering uncalculable impulses for cultural transformation, Spirals have found the outlet and organisation to release the amazing quantity of material that’s being created in their mobile nomadic studio and started off with a series of EP’s on white, transparent and black vinyl to follow up the Black Label and the SP23001 releases earlier in ’94. These are limited pressruns they distribute themselves mainly in Europe, a series that is only the first step before Network 23 is about to start operating in full force.
What’s on the records is truly a thing of their own, a kind of hard psychedelic space techno that could be called trance but can’t because the word has been hijacked by you-know-who… This is infinitely more intriguing & original as the space these sounds have to work in are warehouse parties and festivals of countercultural tribes beyond the edge of postmodern european civilisation.
The records themselves are only tools, part of a process of mutation. I’m not going into details as the indeividual records are concerned, also because of some strange oscillation between my brain and the sounds that makes me like a track one day and not being touched the next, just as one party can be magic, and the next a non event. But taking this into account, they do have something genuinely poetic about them.
What they stand for , it’s like their time hasn’t come yet, but it’s happening already… a subculture of disappearance, a nomadic form of self management. This can only gain strength over the next years.CF
- Record Review section of Alien Underground 0.0 with reviews by Flint Michigan, Sentinel, Deviant, and CF Caustic Visions: CV2 The second release on their own label, this is their most advanced, experimental, in short: best yet. Totally uncompromising this goes even further than their previous releases in exploring the nature…
- All the record reviews published in datacide two, 1997 Burning Lazy Persons Leave Me Alone (Fischkopf 21) The second release by DJ Harakiri Overdrive and Naoto Suzuki on Fischkopf, this time only 6 tracks (compared to the 8 on the previous Fart EP (Fisch 15) of insane speedcore of the,…
- all record reviews published in Datacide3, 1997 Again we assemble a large number of reviews, mentions and opinions of records mainly released in the last four months or so since the last issue of datacide appeared, with some thrown in that are a bit older that somehow escaped our attention…