This album is taken whole and over flows with 80's music idea; the tone, structure and melodic progression. An instrumental synth-pop with a movie soundtrack twist. So outstanding with some impulse tunes. Italian Kluster Cold draws out a full substantial sound that injects emotions and pinned with the early likes of OMD and Gary Numan and a few other synthesizers pioneers, but KC stands alone in the 21st century from the other new synth-pop artists. The music ful-fills the role of a competent electronic artist that makes unpredictable and dynamic range compositions, tidy modulation, oscillators and synths cliches so forth. The track "Requiem" gives off a ghostly haunting funeral feel. "Existence" and "Minimal Season" resembles the very early of OMD. The suspense thriller tracks "In His Whimper Rain" and "Telephone Murder" shows off a dramatic crafting power delivering punctual art. "The First Halogenous Lights" album nurtures competent, honesty, and pretentious with uniqueness.

After having recently released a new album "Rotten To The Core" under his main project X-FUSION, Jan L. has still a lot of productive fire under his roof. The result is a new album by his Harsh EBM/rhythmically Powernoise project NOISUF-X. The title of this album somehow marks the program of this recording: hard and mostly straight forwarding beats and bass lines, here and there accomplished by some voice samples. It is against to X-FUSION the rather reduced and minimal output of Jan, but at least with a comparable success. NOISUF-X has grown besides XOTOX to be one of the outstanding acts of the ProNoize roster, although it needs to be asked if NOISUF-X really fits any longer to this label. The EBM/Electro content of Jan’s work is almighty here, therefore it may fits better to be placed on Scanner. Tracks like "Distorted Self-Perception", "Fine Line (Between Genius And Madness)" or "Toccata Del Terrore" could be easily fit on a X-FUSION release. "Hit Me Hard (And Hit Me Fast)" – well, this fast-paced track with its featured voice sample should be soon invade the clubs in your area. Same vote goes out for "Geh Zur Hölle", available here in two different versions, featuring some amusing German voice samples. It is generally again a quality work out of Jan L.’s very own X-M-P studio, while it doesn’t at all provide any surprising or innovative moment. The EBM/Electro-minded audience will for sure offer thankfully reactions in form of a higher frequented dancefloor movement – the real Noise-oriented listeners will definitely find this release as being too smooth and EBM-oriented. There are harder, more Powernoise-minded artists available at ProNoize, that’s for sure.

Having recently reviewed the LUCIDSTATIC debut release "Nexus0001", here comes with PANDORA’S BLACK BOOK another release leaded by the Alaska-based Jimmy Church. "This album is the result of trial and error and the beauty that can be created by flaw", so the introducing words for this release, which clocks again to nearly 80 minutes playing time. Strange, that this album offers only 4 seconds (!) lesser time than the LUCIDSTATIC album – has Jimmy Church taken a stop-watch to come nearly on the same playing time? PBB is the Ambient-driven instrumental side-project of LUCIDSTATIC, but I would tend to say on one or another track, that both projects share some similarities (check out all facets of the more than 10 minutes long track "Avenues", or "Skullf*ck" for instance). Of course, the term Ambient is rather here present than with LUCIDSTATIC and all of the provided tracks here are sounding rather sedating ("Memorial March", "Nosopoetic"), at times also more dark and Down-Tempo-minded like on "Jaded" or "Eternal Acid", for sure favorites of this fine and detailed programmed album. Another track which mixes excellent noisy, experimental textures with D’n’B-like rhythm patterns can be named with "Save Us", another outstanding work of this release. This album marks an excellent alternative to the last LUCIDSTATIC release "Nexus 0001", if you look for some rather Chill-Out moments as well. I still don’t know if Anchorage is the place to be, but Jimmy Church’s projects are currently moving on the pass lane to gain wider recognition.

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.