Straight, "simple", hammered Gothic EBM with a Spanish voice coming out from Balaguerò best movies ( the firsts ), Synths are like whips and in their music the absence of hope and the literary presence of an infernal chaos is evident, just like in today stock market. The work is powerful and the energy they put on this CD is without doubt sincere, they have a total control upon their art and their imaginary. All the tracks are ready for the club where EBM and strobolight are the gods of the night and I strongly suggest to EBM djs to pick up this useful instrument for ears "torture". What I love of EBM is the ability to be sharp and without remorse from the first vibes, PLASMODIVM wins this essential challenge and their music is even ready for an utilization really peculiar: cut all the sound of DOOM 3 or HALO and play at maximum volume this tracks, thats a symphony perfect to frag monsters, aliens and demons. My fav tracks, the sixth, sorry but I love Euro Techno ;)

"The future is now" ... and it is obviously bad smelling... First full-length album signed by the evocative moniker of Splatterpunk (a term coined by D.J.Schow in order to describe a movement which rebels against the traditional horror fictional structure by depicting '“ even from the graphical viewpoint '“ the violence in a very tangible way and using horror novels just as a tool to propose a non-fictional analysis of the most disgusting portraits of the daily social life in a provocative way!), an interesting ebm project empowered by sharp reviews of contemporary lunacy, ideally broadcasted on channel 83, the highest frequency (now defunct) for NTSC-M terrestrial broadcasting! Even if there �re a plenty of references to some EBM classics, it's evident that a rich eclectic vein pulses using new music forms to propel its sometimes "subversive" messages in Splatterpunk's electromechanical body and Oscar Javierre Payà aka F18, the man behind this moniker, keep on dissecting the foggy pall enwrapping media-COMtrolled minds through an exquisite blend of sound tricks and well-crafted frequencies full of style variations, which sounds really good and absolutely enjoyable according to our ear response! Rooted down in the cyberpunk fertile cultural ground, the lyrics contains some eruptive statements since the beginning: Future Shock is a good ebm-techno liberation march related to the almost scientifical control some mass media use for enticing minds through apparently inoffensive bombing of info-shit ("digital emotion is the wrong devotion, connected to their lies by optic fiber line") and the nice Psychoterminal (... it's adorable that girl's voice contrasting with the hoarse one by Oscar repeating in an obsessive way "psycho"!) continues with the similar themes which is a sort of leitmotiv of the whole album, inherited by a lot of ebm and dark past acts ("the operative system that they install on your mind is just a simple extension of their fucking masterplan" evokes some dystopian writings by the legendary Philip K.Dick). After the whistling and suppurative minimalistic My Neurosis with the classic crumbling on some brass'n'bass sounds with an 808 State-like (to be honest, we should speak about a 909-State!!!) rhythmical pattern, there's the first pit stop, Robot Interface, a mumbling little candy (a little more than one minute is enough to take breath... !) with technospheric soundings which stands almost like a sort of tribute to Kraftwerk lessons before the further snapshot on social manias (un)frozen in the track Hi Technology, Low Life, a good example of danceable yeasty lo-fi tunes with grizzling "vocoderized" captions for a technologized world suffocated sentencing "the time has come and it will never come back again, we live in the last step of the final end", a nostalgic caress before the retro-futuristic high-propelled track Renegade Hacker 3.0 (prepare to repeat a lot of words ending with '“tion if you like to sing this song while dancing, folks!!!!). What a great track for a supposedly forthcoming Apocalypse engineered by Intel!!! Mr.Ralph appears again on Self Isolation, a catchy conglomerate of pitiful assumptions on people which decide to live this condition as a way of escapism... what can't be cured must be endured... ! A bleeding conceptual passage from robotic to zombie interface (not casual!) before another bath in an acid pool throughout the trance inducted by the well-done XXX-Terminator and the (voi)dances on a sort of vituperative "thrust and parry" in Suicde Epidemix ("I'm tired to see you in these fuckin photos, throw away this shit, it shows your self's lightlessness" seems to be the words a strong-minded friend will shout to an absent-minded one loving filling his albums on facebook!!!). Turbina Neoplastic with the flux of exercises on throaty beating vocals is certainly not my favorite track (even if it contains good samples), while the howls introducing the romantic intercepted love affair (let's say so!) of an idiot and a mechanical whore (containing a sample of the lies by Jose Maria Aznar told to Spanish people to justify the war on Irak... you should already know the bullshits on Iraki mass destructive weapons... shame on you, politicians!) is surely one of my favorite ones! Don't forget to have a listen (and some jumpy steps) on the two remixes included in the album, among which the ASCII-Disko one of XXX Terminator is an highlight! My personal compliments to Die-6 form Barcellona for pictures and artwork (well... the "fluttering" girl on cover artwork presumably taken from a Japanese porno movie is not the next picture taken from Berlusconi's Sardinean villa family album bought by El Pais!!!).

Originally released in 2000 by Trisol and Invisible Records, THE HAND THAT FEEDS sees major names of industrial/experimental music scene of the past giving new life to classic Attrition's songs coming from their darkwave period. All the projects involved but Dance Or Die (they did a creepy short version of "I am a theif"), The Truth (they version of "Ephemeral" is a nice minimal ambient tune) and Flip Shriner (this one has been included here for the first time and "One of this morning" is sounding like an experimental nightmarish industrial track) opted for a dance floor/almost acid trance version of Attrition's songs. We have: "Cold Genius" Polaxe remix, "Waste not, want...more" D.O.S. remix, "Cosmetic Citizen" Stromkern remix, "Lip Sync" IT remix (IT was the other project of Nightmare Lodge's Ivan Iusco), "I am (Eternity)" Chris n Cosey remix, "White men talk" Morbus Kitahara remix (this is the less trance oriented track as it sounds like an orchestral, rock oriented upbeat tune), "The Mercy Machine" Attrition remix, "My Friend is Golden" Regenerator remix, "Acid Tongue" New Mind remix, "The Second Hand" Mark Crumby remix and "IAE" In the Nursery remix.

Synaptic Defect is a one-man-project by Marc Tater from Beverstedt, Germany. Marc has got a long history of being involved in the dark electro scene; he was a co-owner of a label, currently he writes for the German gothic printed zine Zillo and not least for chaindlk.com.
"World-Wide Life & Death" is a follow up is his second album after "Mechanical Oppression", which was released in 2004 on BLC Productions. The album is over 75-minute long of Old-School EBM and this is no easy listening music. The rhythm lays the fundament for the tracks, often with more than just a little power-noise touch accompanied by samples and distorted vocals.
The track "Punish me" could serve a soundtrack for an SM-session. "Belief" seems to me to be the most fitting track to be played in a club because it is the most danceable one on the album, in my opinion.
The album criticizes the shortcomings of this world and the role the human kind has played in bringing them upon itself. The music is uncompromising, which is usually the case with solo artists and no surprise for an Advoxya Records release.
Synaptic Defect is a project that has much to offer to the listeners but it also demands some musical competence from them which is not uncommon in the underground scene.

Hard Body Music is a title which wears the new unmusical effort by the esteemed Italian promoter and dj (but not so many people knows he's also a talented techno forger... ) Noorglo like plastic gummy (and potentially carcinogen!) overalls giving the illusion of a perfect body. His name is mainly related to Decadence parties, among the most famous rendez-vous involving a lot of people devoted to Gothicism, fetishism (and related fashion branches... ) and obviously electro-techno music, but he's considered one of the most active of the underground Italian scene, as he also shared the stage with legendary names of the international music-biz such as Covenant, Massive Attack, Funker Vogt, Einsturzende Neubaten, Hocico, Lacrimosa and many others. A lot of respectful ackonwledgements which are justified not only by his enthusiastic way of promoting his devil-like eyebeam and his guessed figure for introducing to darkish dancing masses as well as by his bumpy sets and his philosophical excerpts giving a conceptual framework to his musical "mission" (... and we could not anything but wink when he states that "performance is the physical expression of music. Often, a musical work is performed once its structure and instrumentation are satisfactory to its creators; however, as it gets performed more and more over time, it can evolve and change in any number of ways"... have a look to Noorglo's myspace to get bodies of evidence of its nite and clear statements, folks!), but also for his good music taste confirmed by this work, which could be ideally detached in two parts: the first one contains a plenty of impressive catching rhythms, progressively gathering (high) speed '“ but please don't fine him or his sample machines for excess of speed!!! '“ oscillating between the experimental grasps on well-sequenced beat storms of Waratah '“ a reference to the Australian beautiful flower whose extract is supposedly able to give courage and heal from depression and anxiety '“ and the suffocating Arena '“ a clashy way to start the fire on dancehalls -, the "aspirated" suctions of Lashes, the harsh idiosyncratic beats of Hyerarchy '“ a nervous and powerful techno mayhem which I didn't hear since a lot of time!!! -, the ironic gabber movement (do you wanna Debord?!?!?) of Bedroom Corrosion and some good slices of sad-istic divertssment in the remix of Oph '“ reminding to us some cranium-clastic issues by Venetian Snares and the first Aphex Twin -. The second part of the record seems to be less refined than the first one, but we're almost sure a lot of people loving technomantras will love it: the trumpet announcing a charge in Beast (a quote of Lumukanda?!?!?), the ultradistorted ready-to-chew brass in Concrete Flesh and the violently sucked tribal-techno stepping in Hbmopera32 reminded to us some acts of Belgian techno music and Rotterdam(ne-R-d) old school. And after the doors of hell have benn disclosed, Mr.Noorglo proposes a Biosphere-like nice cameo in 12 with lovely trembling and tension-filled atmospheres. A really concrete -!- way to modulate noise in-shape-of something musical to train your sinews and go mouldy on a dancehall.