Datacide 18 Record Reviews by Saxenhammer


Diagnostic
Repercussions
[Jezgro JCDAL001]

This is the first release by Diagnostic, the latest project from Jan Robbe (Atomhead/Undacova/Erratic). There are nine original tracks backed up by remixes from KK Null,Katran and Aethereal Arthropod among others. Glitched, industrial tones and clashing noise / ambient flavours are the core of the Diagnostic sound. This is a far out there, harsh, alien soundscape wonderland that very few people are capable of producing to this accomplished level. While there are beats and rhythmic elements at the forefront on a couple of tracks, the finest moments are when the sound is free flowing and evolves with highly nuanced detail through uncharted sonic territories as displayed on “Vantage point” where chaotic electronics become enveloped by deep space ambience into an explosive sonic cocktail. As a long time follower of all of his projects it is nice to hear the progression in this intense and highly individual release.

Savier:
The Fountain of Perpetual Decrepitude [DRKFLT002]

Scottish producer Savier serves up a cassette for London’s Darkfloor Sound label which continues his exploration of bass weight and slow, heavy beats backed up by remixes by a host of Darkfloor artists and associates. The Savier tracks are a mixture between his trademark distorted, metallic drums, glitchy effects and ones with a subtle use of melody which create a distinctive sound most notably on the two shortest tracks “Cast him in” and “Grooming Dead Rats” but also add a creepy flavour to the title track and “Mrs Warboys”. As the tape progresses it becomes more disjointed with each track, having a slightly different flavour while retaining the moody crunch we have come to expect with “Bulk Bogan part 2” sounding particularly unhinged. The remixes here are pretty much an album on their own with seven in total all going off at different tangents. I particularly enjoyed Opine Kosinsky’s noisy hip hop take on “Bulk Bogan“ and Robert Logan’s very psychedelic rework of the title track.


Umwelt / I Hate Models
[ROD 10]

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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 →]