Born from ex Ain Soph's Clau D.E.D.I. solo project of the same name, Malato during few years of existence saw joining in members of Ain Soph, Circus Joy, No Light for Tomorrow and Sentinels. AVANT POP MUZAK shows very well the new attitude of the project thanks to five tracks (there's also other two bonus tracks with Folkstorm and Mz.412 remixes of the opening "Uni") which are always in balance between industrial improvisations and dadaism poetry. The tracks are based on an 80's industrial rhythm structure enriched by theremin inserts and synth bass lines where Dark Yota is free to declaim his futuristic lyrics. The CD seems to have the same approach of a live show where the effect produced and the feelings induced into the listener are the main thing and Malato are good at this. Be sure to check also "Digital vampire", a track born from the collaboration of the hyperactive Japanese writer Kenji Siratori where Malato build a sort of dancey electronic industrial background to one of the characteristic Kenji's writing, recited by himself.

The first time I listened to this double CD by O Paradis I didn't know what kind of comparison I could do to explain the music of Demian's project. The fact is that the two CDs contains unreleased tracks coming from two different period of the band. The first one, which contains sixteen tracks, is part of the latter period (the one I prefer), while the second CD contains other sixteen tracks which are a little less experimental respect the first ones. I'll try to explain what I mean: the second CD contains songs structured like experimental folk ballads which someway sound more "rock" or "psychedelic" oriented (but always filtered through a good dose of experimentation concerning background sounds). On first CD, instead, the concept of ballad has been revised using a different approach (you can find something similar on the last three songs of CD 2) where the atmosphere is dilated and you can also find a certain folk influence thanks to the use of violins and a different use of acoustic guitars. Take songs like "Las vias del viento" or the following ""The bubbles of the fishing" and you'll get what I mean. On this one you can taste a certain melancholy you wasn't able to feel with the old tunes. This, in my opinion, opened O Paradis sound to a wider choice of atmospheres.

There are more and more people in the international Electro/Goth/Industrial scene sharing the opinion, that nowadays every act can be successful if even the right and effective promotion stands behind it. Labels have lost in times of an unbreakable technically development a bit of their meaning thanks to the rise of communities like Myspace etc. I don’t know if Harald has already a Myspace account to present his music efforts, but nevertheless the promotional efforts of his label, the German mail order service Dercho Music seem to work fine so far. After the three-track SiCD with the same title, they like to release this first full-length album packed in a beautiful digi-pack, together with a special bonus-DVD featuring all album tracks in live versions (where’s the audience, by the way???) plus several other goodies and "situations" – to name it friendly, if you’re interested in Harald’s trips to Munich airport or Stuttgart’s inner city, Harald in the studio doing nonsense, Harald drives home in an ICE train, Harald pulls faces, etc. – what a waste of money! What I’ve already expected after the SiCD has finally happened – several online resources, web and printed magazines haven’t left any good comment on Harald and his efforts – obviously he and his kind to sing and perform has left a lot controversy. Some so-called journalists even missed the target and have fallen into rants up to insults – well, this is nothing more than a sad proof, that the so-called "open-for-everyone" Electro/Goth/Industrial scene isn’t at all that open-minded as we all may have hoped for. Black or white ideology in limited dimensions only following the hypes has at least invaded this part of the music scene too, although – and I admit it honesty – Harald’s efforts are a special sort, which are in the first instance difficult to describe, in the second instance hard to accept in all terms of his production. Even if it comes to accept his German/Russian accent (he’s born in Omsk, Siberia) providing an opera-like vocal performance, some first doubts on the seriousness behind this production are coming in. The German lyrics often turn into nonsense as well (I was about to name "Sucht" as being an outstanding track musically and lyrically – until the final verse leads the scenario: "Küss mich bitte ich bin Dein Frosch"...). If intentional or not, he acts a bit like a comedian – I would tend to call him the parrot under the Electro/Goth musicians. The music itself, done by DWR 2009 and A. Krull (ATROCITY), is fair enough produced in that case that you don’t expect anything innovative. For this review I like to avoid it, if this music and the product "Harald Bosh" is any "good" or "bad" – check the website, listen to some files and judge for yourself.

This is a one-man project leaded by Jimmy Church hailing out of Anchorage, Alaska – well, some people like it cold in their area. It is already the fourth CD for this project, which has made itself a fine name as being a remixer/collaborator with acts like UNTER NULL, CLAWFINGER, NIN or MEAT BEAT MANIFESTO to name only a few. With 80 minutes playing time placed into 14 tracks the maximum to satisfy the term "full-length release" is fulfilled like never-ever before. LUCIDSTATIC plays a sort of intelligent Electronica by integrating an enormous diversity through different styles like IDM, D’n’B, Trance, Trip-Hop and a small doze of Electro as well. The tracks are mostly fast-paced and offer some complex drum pattern programmings – at times intentionally very nervous arranged ("Morter", "Robotix"). It is an instrumental kind of work, even some voice samples here and there give a hint on the meaning and content of the tracks. Favorites I like to name with the rather dark sounding "Connection", a track which generally slows down the hectic mood a bit, also "Slag" and "Gonna Get You" get this vote for having attractive, more experimental textures and a doze of Noise on board. If you aren’t an IDM addict, this stuff needs time to grow on you and at least your fully attention – the complex arrangements and the at times weird textures aren’t that easy to pick up and sort in. This stuff is designed for friends of some Component or Ad Noiseam-related stuff and acts – at least this references maybe besides the experimental-minded AUTECHRE do fit well as a possible comparison.

Hive is one of the best record labels out there to get your rhythm-noise, glitch-breakcore, IDM fixes. Their 24th infection is Cenotype, a NYC-based industrial-noise project that has been active for some years but only now releases his debut full length album. Obviously Mr Cenotype has been around long enough to learn the lessons offered by traditional industrial outlets such as Daft, Body, Ant Zen etc, and with "Origins" he offers a consolidated yet personal outlook on power-rhythm-noise in the 21st century. From hard-hitting, pounding and zapping saturated beats to dance-flirtatious 4/4 patterns that might even make him remix-material for some DJs out there that are not scared of abrasive and raw sounds as opposed to liquid and chill ones. Cenotype's beats are always mixed in with saturated and droning dark-ambient visions that grind against each other with the idiosyncrasy of machinery and industrial landscapes a-la Blade Runner.