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 →]

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 →]