All record reviews published in Datacide 1.
Starts with a killer track titled passionate: bass avalanche of threatening proportions that eventually leads into a hip hop style beat. Excellent! The remaining three tracks are more predictable for Holzplatten, Brixton’s label for often purist acid. Somewhere there lurks a strange early rave influence, especially on the second side. Maybe somewhere the courage is missing to go all the way, and instead the past crops up – but the opening track is very good.
Crystal Distortion Double Pack
Simon Carter once more delivers the goods on two Gray labels.This time more emphasis on the ‘distortion’ as opposed to the ‘crystal’.Wicked space trance in an experimental yet totally recognisable Spiral style.
Dark Gray-two tightly-packed, soaring,broken-up numbers as usual full of repetetive and strange sounds phasing in and out.Leaves you feeling breathless.
Light Gray-This time the old 4/4 features more prominently.One side being a harder than usual “old-skool” sounding kik-drum and breakbeat track,the other side a throbbing and disconcerting one, featuring voices sampled from the mind of a schizo.Solid and fresh techno.
Acid Orange 17
DJUngle Fever veterans Walker & Gizz TV are at the controls on this wicked but expensive picture disc. Comprising of four untitled tracks it compliments Acid Orange’s back catalog of dark analogue mindfucks. Mid-tempo electrobass combining with controlled distortion to produce seemingly endless reverberating loops of what people dance to… Save up and buy.
In the Bush
Obscure minimal techno meets industrial an intriguing combination where an often dire genre suddenly offers mesmerising possibilities. Two tracks each are in a 4/4 mode with a dark groove of filtered analogs, plus 2 tracks each of more broken up experiments.
(Cross Fade Enter Tainment CD)
Moving further away from what they call the “DJ Context”, Cross Fade are in the process of releasing a one-off CD compilation. In typical fashion the clean sound of CDs are undermined by various experiments with sound quality. The opener is Kreng -a low down grunge-funk piece recorded in analogue-mono. There’s two tracks from Unit Moebius (check Kuiken also on CFET) and further Hague excursions from i-F, Hott and Rude 66. The latter is a kind of acid trip-hop track. The Somatic Responses weigh in with two slightly more melodic tracks than usual, there’s the dirty acid of Paul Snowden and two tracks of re-singularised drum and bass from Christoph de Babalon.
Initially destined for the record and tape exchange, but, spared one last listen (just because its speedfreak), surprisingly reveals one cool electro track and one very perversely enjoyable cut up house thing. The other twotracks include a ridiculous porno breakbeat tune and a really slow boring ‘88 “Ye Olde Skoole” bit of bleeping acid stuff.
Red Planet 7
2 cuts here from the Martian, carrying the Red Planet theme of spacey analog techno, with Octave One on the mix on one side turning in a subtle hypnotic groove that just keeps coming and Firestarter a space trip with bubbling analogs and a stab that at times is reminiscent of Strings of Life. As always a quality production, but one that won’t appeal to everyone, so if you were into the previous Red Planets then check, if not don’t.
Mood Music for the Moody
Anthony Shakir back with a record that has both good and shite elements, the goods are delivered with Mood Swing a wicked spacious electro-bass journey, with a mysterious edge, interspersed with pitch bends. Ignore the dodgy disco swing beat effort though.
Best of the recent Direct Beat records turning in a massive minimal electro cut (Shake It) with an infectuous bassline ready to suck you in.
In My Dreams/Time Square
[Tech Itch Recordings]
The technical Itch production duo have been responsible for some of the most forward thinking hardstep trax of recent times, with releases on Hard Leaders, Second Movement and this their own imprint. In My Dreams is the stand out tunedense titanium hard breaks lashing out from a solid foundation of swooping sub bass and dark atmospherix.
One side forgettable ambient string rubbish, but on the flip Predator takes a tuffer direction – with an interesting slice of darkside, using distorted breaks against a backdrop of pulsing atmosphere and sub-base. A few little jerks and twists make this a rough ride with a rough sound, worth a check.
Leon Marr is the producer here. Fast fluid breaks, choral synths, Miles Davis trumpet samples, bass punctuation… something akin to Squarepusher in the speed of the breaks and rhythm details but with more of a darker mind in operation: bass reverberation and a more dramatic panoramic sound. Check the previous (?) release Liquid Earth for a quick witted use of three different drum sounds on one track.
Droppin’ science vol 1
‘Crime does not pay.’A dirty sounding break is joined a Doc Scott ‘Shadowboxing’ metallic distort riff. Add the spook whining strings and you’ve got a tune for those who like it nasty.’The Bear’ has a bassline played live while Danny Breaks programmes the beats. Reminds me of Photek’ ‘Hidden Camera.’Funky with flutes and strings.
The Reverend (Hekate)
Pascal and Phantasy
pterodactyl cries,this track at it’s best.A
lot of thought has gone into the way the
bassline hits you.This track shudders.Skin up and nod your head to the B-side.
U.F.O. Vol 3
Ray Keith kills it on both sides of
this.On one side the bassline throbs
while the Amens tear,only to be joined by a second angry bass.On the other side we have
screaming machines, big bloopy bass soundsand a lengthy wait for one fierce low-frequency attack.
The Speed of Sound’LP
This has been released on four pieces of vinyl for maximum impact. Respect to that.We have remixes of ‘Truly One’ and ‘Quest’ aswell as plenty of fresh tracks. It’s all futuristic,it’s all hard beats and it’s all quality.
Doc Scot with a classic slice of doom step. Darkness and monotony are the key here, with a slow doom riff driving and twisting the whole way coupled with a super-low sub. Nice loud and clear production and drenched in darkness, destined to be a classic.
(Penny Black 10)
Part of the new movement of drum and bass as it melds into a deeper and darker techstep; this is the third release from Ipswich based Twiste Anger on Penny Black. Having proved with the previous So Dark that they can compose and structure tracks with a clean No U-Turn feel, here they rough up the mix into a cacophony of rhythm and aggression. Fluid analogue bass stabs, swirling noise, vocal loops, hard percussion all meld into an aural schizoid assault that now makes the cruise control sounds of Alex Reese, Photek et al definitely part of the old skool.
Dom + Roland
Wicked distorted chop/change breaks sub base and atmosphere – excellent rough sound, hopefully a roughness we’ll see develop in ‘97. Unfortunately the flip sounds a bit like Kilimanjaro.
Extra Terrestrial/ Angry Business
‘Extra Terrestrial.Can you imagine? ’Unbelievable’. After a build with hints of dark times ahead the drop is suitably mean.It breaks down to strings and then gives it some more.’Angry Busness’ doesn’t really need to be described by your reveiwer.Hardcore tunes.
[Renegade Hardware 05]
Absolutely massive 12 from Renegade Hardware, as pitched down techstep breaks fight it out with fierce bass punctuated with an “Unbelievable” sample. A step up from their last release Dead By Dawn and who’s complaining?
Ed Rush & Nico
[No U-Turn 17]
Super-minimal tuff production of quality clarity and conscious of its power with ominous soundwaves and cold sharp production. The purest tech-step release with a clear desperate vision of the phuture.
[No U-Turn 18]
Powerful a-side that utilises the Amtrak stabs in a more minimal fashion, the beats getting harder and even more minimal achieving a sense of rigid geometry into which the occasional bass-avalanche descends. No U-Turn have definitely developed their very own sound that is still leading the pack into unnatural/technological relationships with the Darkside. May they not be seduced by their own success (and start sticking to a formula), as this path offers and opens up incredible possibilities for development and crossover. This new release is “the same again but better” as a friend commented, and a must for every true techstepper.
This is not so much for burning buildings [> Flint Michigans review of the awesome Chrome 6 elsewhere in this issue} but for afterwards: Everything is burnt down, and it rained and we’re stuck in a dangerzone of muddy bassavalanches. The agenda still seems to be to take the hardstep/techstep genre a little step further, not too far but every little bit of noise counts, as the saying goes. There will soon be others who will go further, but so far the Chrome releases are the only comments / contributions made from continental Europe (as far as I know). Shameless sampling is going on, but that is part of the mutational process digital electronic dance-music is undergoing. Massive reverb on the beat and layers of noise, an energising quality that is gritty and rough pointing in the right direction.
[Riot Beats 15]
While most of Riot Beats output has been characterised by the hectic breakcore of Alec Empire’s various aliases, this new producer offers a different approach, only using the speedbreaks – well cut up & spastic – on one of the four tracks present here. The other three are noisy half-speed explorations that use the possibilities of the combination of a demonic slowness with hard grinding and screeching frequencies that are overlooked especially by the speedcore posses these days. Very good debut that [if my info is correct] will be followed by an EP on DHR soon].
The Slaughter of Acid
[Riot Beats 16]
On five tracks Alec Empire demonstrates his ability to throw together messy breakbeats to a whirlstorm of sonic abuse, so it’s the Alec we know & love from the various versions of Destroyer rather than the existentialist jazz dude from Les Etoiles des Filles Mortes or other recent manifestations, & it follows up nicely from the other recent E.C.P. releases on Riot Beats; opening track with distorted ragga soon dives into familiar breakcore realms, efficient and noisy, while the second track sticks out by not utilising the same breaks and a drummachine instead (very cool for a broken beat rather than a breakcore set), a better cut than B1 which utilises the same theme, but here with a slow break that fails to completely convince. The following track combines fast acid with the most hectic terrorbreaks of the EP, before a different mix of Squeeze the Trigger finishes the EP off.
Have you ever kissed a girl like this before? (or fucked her in the toilets after her dad buggered her?). His set at Dead By Dawn trashed the PA, and his conduct broke the minds of the frail – now he’s doing it on vinyl. Licensed from DHR (their most essential release since DJ Bleed Uzi Party) and produced by the man with ‘best male breast’ comes this irresponsible teen classic. Forget techstep and fall down the stairs with Shizuo (beware – he’s already greased them for you). For this soundclash with local video store. Demented cone-fucking sub obliterates a lazy break with soundtrack and re-winds, but Shizuo doesn’t giva a fuck, he got bored and sneaked out for some retard sex action in the alley… (also check out DHR 14 with collaborative tracks with Scud).
High on Emotion
One side with 3 studio tracks by our man Shizuo, two of which in collaboration with DJ Scud employing and taking to a certain extreme strategies of breakcore abuse with an infusion of dangerous sub base. A mysterious An assembly plant for Ford – did you ever drink Tisan on the second track with breakbeat abstractions, an amzing creative / anarchic musicality shines through the chaos. The other side is a 6 track live recording from the DHR-festival in Cologne (16-8-96) where he plays all his greatest hits, including Anarchy and Sweat. The cold staring passion of a punk high on emotion.
Jackal & Hide
Escape from South London
Another outing for the elusive Jackal, the first release on Ambush where s/he clashes with his/her dark alter ego using stealth bombs of fast breakbeats, noise and sub-base to create a pandemonium of innovative jungle-core. The sound of the urban wastelands of South London. it’s all screwed up and you like it like that don’t you!?
Society of Unknowns
(Praxis 24, white label)
Opening with a hardstep track punctuated with some piercing noises, a melodic dark bassline, a breakdown with dissonant strings before the beat and bassline kick back in. The impression is not an aggressive one due to the backwards-elements in the beatprogramming. The following track Live @ the Invisible College is a trip into monotonous sub-bass territory with big bassdrums and a faint techstep break with a fiercer set of noises in a steady but at the same time amorphous mix that make it the least constructed and somehow most mixable track at 180 BPM. before the flipside goes freestyle on 3 tracks opening with abstract alien jazz @ 67 BPM, to be followed with fierce electro meets sub-base and mutant mentasms. The final track Dead By Dawn was the last track ever played at the parties of the same name, dark full percussion and noises flying around with a voice sample If we are going to die, we’re going to to die all together . We didn’t, and here’s one of the consequences.
Test Tube Kid
His first release on Praxis, and as Test Tube Kid a combination that works well with loud, intense and twisted dirty harmonics and hard beats, trax that make you bounce and groove hard in any noisy set somewhere below 200, where intensity is not evaporated by pure speed yet but space is allowed for layers of noises and other sonic adventures. Check Promars for serious hardness that mixes well with the likes of XMF, and also track number 5: dark industrial ambience that goes ad infinitum in a locked groove. CF
[Agent Orange 5]
On the latest Son-of-Napalm 7” release the mighty Speedfreak presents two very playable solid hardcore tracks in the vein of some of his stuff on Napalm or as Cyberchrist on Praxis (xcept its a bit faster than on Information; Revolution, and about half the volume, but there are some of the trade mark patterns). Utilising analogue stabs and breakbeat elements, those groove hard and should not be overlooked by the DJ in search of decent hardcore tracks for the dancefloor.
Based on monochrome hard kickdrums XMF present their best so far on this phuture classic. With its ominous drones and controlled industrial noises, this is sonic urbanism in a effect, a record that will remain with its dark energy and power. There’s no messing around, no compromise and no bullshit. There’s a french version of the Taxi Driver sample that had been used by D.O.A. (in the original) and Out of Order ( in German) , we have quelqu’un qui a refusé … but they are not out for gimmicks; there’s an atmosphere of coldness, concrete and glass; there’s an ability to arrange tracks; and a passionate energy prepared to reflect the post-modern world, smash it all up and develop a poetry of noise.
Laurent Hô/ Liza N.Eliaz/ XMF/ Micropoint
Along with the above one of the best hardcore releases of ‘96 that came out second in the series of 3 12”s that made the tracks of the Explicit Bass Drum CD-compilation available on vinyl. The first was the Napalm 6-tracker, and the last, most recent, another 4-track compilation reviewed below, but this one is definitely the strongest of the lot. The 2 collaborations of Laurent and Liza are grinding industrial hardcore around 200 BPM, CTRL 3 an instant semi-classic at the Teknivals, a sharp distorted and powerful sound that finds its equal in Magnetic Storm by XMF opening side 2 where half-speed industrialisms are combined with a 4/4 kick at 195 and a slight infusion of acid noises. The final partner in crime is Micropoint who present one of their typical tight and tuff banging tracks, titled Return of the T-Rex.
Test Tube Kid/ Smiley Slayers/ DJ Delta 9/ Nordcore
The best track here is by Test Tube Kid that is in a similar vein to some of his H release Praxis 22, well arranged hardcore that has a positive fresh energy that makes you jump around and smile without being cheesy, twisted little noises flying around over asteady backbeat. Smiley Slayers from Japan gabber it up next, in a similar vein to Delta 9 (sorry: DJ Delta 9) in one of his tougher numbers of pounding 909. As far as the Nordcore track is concerned I have to admit that I don’t understand tracks with 2-note synth riffs, “Fuck You”-sample (same voice you heard b4), and a presumably Amiga-ised 909. It’s called 666 and I’m not sure in what way this refers to the track. The most ‘gabba’ of the 3 last releases on the label has its moments, but isn’t the strongest one.
(Dead End 02)
Hard tight kicks and blistering production, very much based on the 4/4 kick with industrial overtones in the mid-to-high-range. Another solid quality hardcore release, similar to the first Dead End (with tracks by Tripod System, Radium, TR and Speed Yq’s), or Micropoints previous release on B.E.A.S.T., ideal for the dancefloor.
Sans Pitie 001
A new sublabel from Dead End Records Paris with limited editions of only 250 copies and dedicated to rough breakneck industrial speedcore, screaming mayhem of a wall of noise over fast beats.Not particularly subtle but efficient full on frequency assault establishing panic and terror as pleasure. One side is written by Klaus Kombat and TR the more brutal one with Garde a Vue and Massacre a la Famicom, the other by Son of Samael and Angel Flo.Total Carnage of Love which is a love song, and the aptly titled Blackout for later.
A-Septic Test 1
Virus is a new sub-label of Toulouse based Anticore who recently released the Mouse EP. On the first listen (and I’m sorry to say that) you experience speedcore at the famous near-silence level of some Czech cheapo pressings; when the beat kicks in the situation becomes more audible and it turns out that the tracks are actually quite good, situated in a similar territory as the Michelson sisters, but not as out there (see reviews elsewhere). For speedcore completists & collectors.
Completely manic and extreme speedcore trax from Switzerland that make up one of the most interesting records of the genre that came out last year. What a lot of speedcore suffers from these days is that the originators (like, say, Nasenbluten or GTI) are often just imitated without the broader vision – musical and content-wise – that mkes up the challenge to sample and remix a hostile world. This is not the case here: although occasionally re-using certain ‘rave’ sounds, this is original and crazy and goes overboard in a otaku kind of passion for the fast and extreme.
Gwal / Eiterherd
Widerstand means resistance and as soon as you put the record on, you see what’s on the agenda: everything becomes noise here, hard broken up destruction of false harmony, eclectic stealth attacks on your complacency. The Jackal recommeded this to me, and I recommend it to you.
(Zero Tolerance 006)
The second Neuroviolence release after the excellent first Zero Tolerance opens with a disturbing / ironic housey rendition of Art of Stalking / Shredding/ Moving before going into a repetitive drumpattern with nice flying noises and a cool groove. The second side opens with a fierce siren noise half-tempo to explore Zero Tolerance-unusual speedcore to best effect. The final track is hardcore in a dark minimalistic mode, that finishes off an eclectic EP consolidating Zero Tolerance’s position as the most interesting new British techno label that started in ‘96.
Slack Dog Ensemble
New Yawk Dog
One of the ruffest mixes of last year is this track by Luke Vibert & co that got released on a limited 7” on the Flower Shop label and on 12 by Lo (with different b-sides) whicheve version you might be able to get hold of, buy immediately for the a-side (which is longer on the 12”): Super-distorted breaks, nasty noises and assault frequencies stopping and changing the beats.
(Sounds Never Seen 12)
Lory D presents another in the series of sonic bombardment that has kept the Italian label at the forefront of noise techno culture. Distortion and waves of fuzz are part of the key to the dark web of sound produced. Its this form of experimentation linked to industrial (without the art wank that normally surrounds it) that compells as drum machines fight through the frequency overload to stunning effect.
Excellent 2nd release full of energy and excitement. Broken beats and noise abuse. 4 full tracks and two wake up blasts to choose from here exploring different areas but all of interest. Recommended.
No Corners are cut on this crisply produced four track EP. Solid metallic sounds collide causing disjointed rhythmic jolts to the nervous system, whilst super heavy drums and sub sonix destroy your speakers. The first three cuts truly clean your head of any excess material before the final piece brings proceedings to a high pressure claustrophobic halt. Very recommended.
Dodgy 80’s music on one side, and massive industrial twisted dark distorted breaks on the flip. Strange combination, or a waste of a side of a record depending how you look at it. Of the 3 heavy tracks all very playable although 2 are perhaps a little slow. All pleasingly heavy and rough.
This is Somatic Responses under a new alias on one of the more underrated labels from the Napalm/ Agent Orange etc. family, one of the few German labels that allows for experimentation in the realms of industrial-electro and generally non-4/4 exploration usually known from the depths of Rome rather than Kaiserslautern or Ammanford, but it is a virus that’s spreading. Nothing to do with the revival-electro that was fashionable for a bit a while ago this is another path to phuture consciousness of the nature of noise, beat, body and mind; another field that offers endless possibilities of development (in contrast to, say, traditional ‘techno’). The beats here are all programmed (as opposed to sampled & then cut up) and their analogue machines come up with some searing noises without ever getting really full on. My favorite track is the final one that employs a massive kind of oldskool beat that gradually has layers of noise added until that typical Somatics razorblade analog comes in that transforms it into a slab of phuture electro-core.
The prolific Somatics score again with this four tracker of fractured industrial electro on Biochip C’s label. Uncompromising use of sounds that proves how successful ‘music’ can be if it pushes its sources and is not reliant on the pre-programmed. There’s a real restlessness on these tracks, a searing use of formed noises. The probable limited availability of this EP in the UK is an inditement of how the mainstream seems to go round in the same old circles.
Mike Dred + Peter Green
Epnom Bymon EP
Very exciting release from Mike Dred, highly experimental 2 tracks of freaked out noise weirdness and broken beats (in places). Any continuity is removed making it a disconcerting listen with the only expectation being not knowing what to expect. Recommended.
Death By Delay
Mysterious 4 tracker from the people who brought you Traktor . All tracks minimal in content with some very interesting rhythm programming, quite offbeat almost quirky in places. Very hypnotic but not boring, with a subtle and controlled use of effects.
Very interesting minimal electronics from the Sahko sister label. An intense coldness pervades the whole EP, with all the percussion precisely manipulated and programmed into interesting offbeat rhythms. Spacious yet intense and mesmerising at the same time added to the very clear and precise production, make this a good record.
3 track EP of massive proportions, quite slow but heavy and powerful. Here overdriven kicks are laced with harsh sounds and levels are pushed to the max. Lots of little drops and mini-breaks also to keep you interested.
This excellently packaged EP by one of the Reload crew’s most creative producers, Seal Phuric, suggests that ‘97 is gonna be a wicked year for Reload, one of the few large European labels still releasing quality material. From the warped Trance of Natures Revenge to the 30 second long skreeching intensification of Direct Crash E.P.Cure has versatile material for DJ’s, whilst also retaining an identity as a complete concept over the five trax involved.
[Self Abuse/Mother Savage]
MSBR destructible foundation automises a great whirlwind-like structure riddled with secret piercing corridors (gone within a nanosecond) which lead to ‘screaming teens in reverb hell’ and you only get a hint of them, so be ready to jump – lie on the ground and wait for the sky to crash in on your face. Merzbow’s Drain – some great loops here as Masami takes his EMS round the block demonstrating how to manipulate pulsing networks (as white trashers mow their lawns) and that questioning everything really is the key (or does he just have the power to scan his neighbour’s microwaves?). A refreshingly varied communication with great cover art by Joseph Roemer.
[Membrum Debile Propaganda]
(Steve McGarrett foresaw this one a mile off, hence his obvious tensions during the 70’s). Limited to 100 copies (hopefully designed to upset noise-spotters) it’s a sonic bass-drown (of thick electronics) that burns the way to the departure lounge of the Gerog. Fucked up and ready to go… the brain slips into ultra-focus for the mastermind of mind games… nerves break… everything cracks… skin smolders… as a trim phone sample is hijacked through a cheap distortion box… all to prove the Gerog’s standing as Japan’s number non airline. – I can fly as long as you amplify my phone.Nomex
…in statu nascendi
Sound/effects/ manipulations by Sascha Karminski. “A 7” picture EP of fractal loops as soundtracks for pictures”. Four tracks given astute descriptions – example: feedbacks delayed at various speeds (time), presence (colour), multicoloured (abstract), input. Sometimes a descriptive text is a bogus concept in itself, resulting in ‘the dawning of 1’500 murders…’
A live action noise performance recording with an excellent spoken intro, made to an audience of newcommers to the genre (worth checking if you fall into this category). A dynamic piece of turntable abuse, tape decks used as distortion devices and schizo bass-rumble akin to Whitehouse’s Shitfun. If only everyone could attain such an entity with a single release, or as Redboud himself says: ‘Though people think they can use records as music, what they have to finally understand, is that they have to use them as records. Music instructs us that the uses of things are creative; therefore the only lively thing that will happen with a record, is if somehow it is used to make something which it is not’.
Warning – this is a low level cut which doesn’t do justice to the sonic research of MNortham. While his neighbour cranks ‘the Sound of the Earthquake’ MNortham burroughs deeper into the detail of the infinite, a world where the presence is magnified to go beyond the all-encompassing sound of stillness. The manipulation of tubeviolin and ship engine as source material on Remains of the Monument is truly stunning (excellent LF) whereas Condensation is a monstrous piece… evocative of an almost nightmarish world. Dry and acrid, rusting and volatile. MNortham’s recent european shows proved that the fusion of subtlety and severity is not only possible, but essential. Peak experiences…
It’s time for techno says Daniel! …well, almost. Suicide’s 250 BPM drum technique is attempted here, but the sound is far too lame with usual covering of contact-mic rubbings… whereas Vulgar is more familiar territory (the cul-de-sac of the Emperors new Pedal?) splintered sound which matches wood-chip packaging… very disappointing compared to the Incineration / Static Burn CDs. Maybe more drugs and less pancakes?
Moment in Eternity / Language of Dissatisfaction
Music or depth psychology? Record or Found-Object? This seven inch single pushes the boundaries of the acceptable in a kind of Hafler Trio meets Basic Channel round at Marcel Duchamp’s place! Loops variegate the suspension of a prolongated moment as the dirty timbre extends the possibilities for a concentrated listening: A rich noise is filled with such timbres that reveal themselves in a succession of microscopic changes. Is this simply the needle playing the label and not the groove as the photo on the sleeve suggests? There are faint traces of beat tones of melody within the noise… Nothing should evolve but there are shifts in perception. Are we listening to tracks composed to elicit a response or are we creating a track, composing it as we listen? I arrived at an itinerary leading to sound… through experiencing a skipping needle.
Bovine Spongiform Encephalopathy
A manifestation of the death of culture. Featuring Maeror Tri (dense drone into reverse tape work, reminiscent of the Lord of the Goats), Merzbow (Masami hijacks a steam-version of the bullet train, jams the whistle on as he derails into a local trance party: Severing the ravers with precision). Møhr (2 pieces of analogue based loops, the first being very organic, the 2nd less dense more ‘seperated placement’), followed by Big City Orchestra (closely mic-ed metals which lead into a changing territory of subtle feedbacks and multitracked textures, a complex work but too similar tonally to ‘the song i hate’ for me).
[i records] Experimental in the true meaning of the word.This 5 tracker contains 4 beatless analogue extremeties and 1 fractured noise cut up which blasts along,levelling the tyranny of the 4/4 beat and “techno purism”in it’s path. Contact -I Records @ demon.co.uk.for availability.
Dissatisfied with the current techno releases and want to make your own? Want to make noise but haven’t got any equipment? Why not try this, a 2CD pack with 1 disc of techno loops, and 1 disc of noise loops. Designed to be used together, select random and the only limitations are those you create yourself! Either disk makes interesting listening/source material, but I must say that the hyware disk has 71.42 of the most refreshingly original noise I’ve heard recently and the pack is worthy of purchase just for this disk itself. The only obvious improvement would be a vinyl pressing. An innovative concept by Hyware, fusing further the boundries betweennoise and techno.
- 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…
- 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 issue nr.5, winter 1998/1999. Sniper and G.Q. Dub Plate Pressure (rmx)/Roulette Vinyl Syndicate Starts with the classic KRS-one keyboard riff (the one which starts his latest album). G.Q. comes in saying things like “Tearin’ down the place”, “For all the massive”, “Yeah, that’s right, for…