Limited to only 1000 copies, SURFACE TENSIONS is the third release by Surface 10. While the previous two were containing tracks composed and reworked during the 1994-99 period, this new one contains tracks that have been composed within 1997 and 2006. Dean De Benedictis, the person behind Surface 10, describes the music of this album "techno-tragic sound". The eleven tracks of the album have been composed by Dean with the help of Eddie Loyola (aka Niture) and members of the Fateless Flows Collective. Musically the tracks have a strong electronic background that sound like a mixture of ambient and minimal techno with some i.d.m. here and there but if you listen to it with attention you will also notice a certain jazz or fusion attitude (see "X tension" for example) of the melodies used on some tracks. This is the interesting thing about Surface 10 music: the multi layered structure of the tracks contains so many melodies and rhythms that even if the whole effect sounds like ambient trance music, you’ll be amazed by the richness of the sound. This denote a will to experiment with sounds and solutions that I really appreciated and even if the approach to sound is really minimal you could let yourself lose into the ambience created finding something new that goes beyond the usual ambient music.

Cordier is probably known to most people for his "Digitalis Purpurea" cd on Ground Fault, or for his works with Éric La Casa and Jean-Luc Guionnet in the Afflux project. This 6-track, 73-minute work is a very intimate, yet political work (or, say, intimate like every truly heartfelt political statement), recorded using an old 10" vinyl as the main sound-source, filtered through a delay pedal and other unidentified "handmade devices", with the sporadic use of some outdoor field recordings and the constant one of vinyl noises themselves (scratched surfaces, motors, etc.). As Cordier explains in the inner notes, "the source record may be familiar to older generations as one of the first recordings on which the Breton language found its place again after decades of persecution and censure. Since the record became available, these pieces have taken their place in a national collection that has helped reassess the value of songs and language that were hitherto considered obsolete by the intelligentsia and the state". These lines should give you a necessary clue about Cordier's intents, along with the use of Breton in the liner notes themselves and with evocative titles like "Mes chaînes seront brisées" and "Vieux pays de mes péres". Cordier uses the pre-recorded vinyl support in a way similar to Philip Jeck's and Loren Chasse's, that is, a highly emotional and somewhat respectful re-reading of the past, in search of forgotten or - the main difference with Cordier - historically downtrodden memories. The original sound source (which the author calls "horrible because of the catechism-like vocal arrangements but a work of genius in terms of the beauty of the melody and the conviction of the singers") is mangled and stretched, but maintains a solemn, almost sacral feel; listen to "Breizhiselad/Ar Baradoz", the field-recordings ridden "Lieux de repos" or "Vieux pays de mes pères", all very intense pieces. These evocative qualities are present even when the melody is reduced to a minimum, and the track is mostly built on vinyl crackles, as in the final "Tu es le portier qui m'ouvre le ch'teau". Cordier has written a fascinating work, which manages to shed light on crucial matters like traditions, or the risk of losing your own tongue, without writing rhetorical manifestos. As an aesthetic experience, it grows with each listen, and I honestly wouldn't advise to take it all in one go, as it could sound redundant at first. A much recommended record for sure.

"Cryosphere", a chock-full sampler featuring 9 tracks for almost 80 minutes of music, marks the debut of Alessandro Tedeschi (Netherworld)'s new label Glacial Movements - you may have noticed that the recurring theme is ice, glaciers, vast frozen horizons etc. in the best tradition of Thomas Koener, Biosphere, etc. None of the featured tracks is less than well-done, so fans of isolationist drones will surely have much to sink their teeth into. My personal favourites were Siberian Closing the Eternity (authors of a superb 7" on Drone Records), Tho-So-Aa (mostly working on menacing low rumbles) and landlord Netherworld of course, who is brilliant and deep as always; but you can easily pick your own soundscape among those offered by Northaunt, Lightwave, Tuu, Troum, Aidan Baker and Oophoi. I wish a bright future to Tedeschi, and heartily recommend this to those even remotely interested in labels like Drone, Manifold, Mystery Sea and the likes.

Robi Insinna a.k.a. Headman and Manhead is a successful dj which since the early 2000 is rocking the dancefloors. During the last period he’s touring with Soulwax as their official tour dj as well he did many remix for Franz Ferdinand, Royksopp, Yello, Anne, Mylo, Scissor Sisters, etc. The respect he gained during his career allowed him to have on his second full length many guest singers, so ON features: Anthony Roman (from Radio 4), Stephen Dewaele (from Soulwax), Tara, Anton Spivac, Matt Safer (from The Rapture), Ed Laliq, Ben Rymer and Erol Alkan (from Trash). The album contains twelve tracks that mix indie rock urge with dancefloor taste. To tell the truth I was expecting something more electronic and less rock oriented but it seems that Robi wanted the album to be enjoyed also at home and he concentrated the will to party for the remixes you can find on the three singles taken from the album: "Roh", "Moisture" and the upcoming "On & on". Listening to tracks like "Balearica" it seems to hear the Kills affected by a soul fever with electronic arrangements. It sounds nice but it sounds also a bit too MTV oriented.

We had to wait a while for this comeback – the comeback of the year maybe - and at some online forums already some rumors came up that this known act has ended all activities. But Charles Rehill returns here with a new full length CD almost five years after his successful debut "Catharsis", which got released originally on the long out of business Inception Records. "Catharsis" to that time became a classic and tracks like "Strain" or "Regret" are still up-to-date sounding Futurepop pearls. Maybe also thanks to the fact that "Catharsis" got produced by Tom Shear of ASSEMBLAGE 23, Charles could enter a not expected attention and this debut album brought him on the same stages like the mentioned ASSEMBLAGE 23 and VNV NATION. For some reasons Charles had unfortunately to take a break from being a musician – that’s hard for him today, because nothing will be like it was, his absence was surely a bit long and Charles has almost to start from scratch again. Luckily Tom Shear of ASSEMBLAGE 23 still stands faithful to Charles, this time being leader of the label 23DB Records, which now brought us this new "Eviscerate" album. Although there isn’t a special website up for this label, please keep in mind what happened with Tom’s last featured act, BACKANDTOTHELEFT, they got signed to Metropolis Records. An initiative which could also happen to LOST SIGNAL. By listening this new album I got the impression that the globally sound of Charles hasn’t changed that much. The kind of composition, the sound and the kind he sets in his vocals and several Synth arrangements show some similarities, but before people start to argue against this and spread nonsense words like "stagnancy", they’d better take a look to this music genre called Electro/Industrial/Futurepop with all the highs and depths of the past years generally. Although five years later released than the debut, "Eviscerate" sounds modern and like a logical follow-up – and so it is. Some musical maturity also Charles has experienced through the years like the use of some IDM and Breakbeat elements ("Distance"). So "Eviscerate" holds all expected properties on board, danceable Synth-/Futurepop tunes like the catchy "Locked Away", "Drowning" or "Perfect Sky" go in an undisturbed connection with slower, ballad-like tracks like "Mourn" or "Blind". Also Charles’ introspective kind of lyrics avoiding almost all cliches often heard in this genre are surely another outstanding point not only of this production – no, it’s a trademark of Charles generally. So we got a nice comeback release which doesn’t leave any wishes unfulfilled. Charles Rehill sends out a stronger signal than ever, hopefully it won’t get lost for another five years.