I recall not particularly liking AntiQuark's debut CD from one or two years ago and dashing out a not so favorable review back then. However, I am happy to find that, whatever course their music evolution took it definitely seems to have gone in the right direction, at least for my taste (it is all subjective after all).
The main difference here is that AntiQuark is not an all female duo anymore and Ant Dakini has now paired up with Sergio, who delivers all the vocals (except one song where she also sings). Since I used to like Maren, this is not what makes me like "MiniSky" more, I just think that the musical vision of AntiQuark has matured into something more cohesive, current, complete and interesting. I still hear a couple of synth lines here and there that I might not go for as a composer/producer, but in general the arrangements are much hipper and the sound palette is enticing. The male vocals give it touch of synth-pop sobriety and when you combine that with the disco-friendly electro-industrial-inspired programming, you have an artist that is however sub/consciously embracing a path where dark electronica is energized by dance floor beats, house/techno sensibility and an EBM heritage.
I believe this record is not released yet and there are rumors that Hungry Eye records might sign AntiQuark. Either way, keep your eyes peeled and look out for this when it hits the streets (or the ether I guess).

Having into their D.N.A. the experimental gene, Attrition after seventeen years from their born and thanks to Franck Dematteis, an Attrition fan and member of the Paris Opera who contacted the band and collaborated at viola on their "3 arms and a dead cert" album, did ETUDE, an album containing twelve old tracks revisited under the classical key using viola, violin, cello, organ, percussion and voice. Giving to the tracks a sort of baroque arrangement, Dematteis did a good work by enhancing the dramatic side of Attrition songs. In this way songs like "Cold genius" or "I am (Eternity)" are like naked in front of the listener showing their darkest decadent side becoming perfect for a Peter Greenaway movie. Originally released by Project in 1997 the album is for the first time distributed worldwide.

Initially reported by me as coming from Milan (that's what is written on their Myspace page), Dream Disco is the project of Rotterdam based producer Dj Overdose. After three months from the previous two songs 12" TAKE ME HOME brings to the lovers of italo disco music a new good track which is confirming the ability of Dj Overdose of creating catchy tunes which don't require multi layered structures or particular tricks. The new tune is one of these which couple the old tune "In your eyes" which is here present with three versions: the original and two remixes ("DJ Technician RMX" and "Speculator RMX"). I really appreciated the latter one as it preserve the charm of the original version but it dilate it and give to it a new semi melancholic 80's vein that works really well. The first remix, instead is more true to the original track and for this reason is nice but not indispensable to me. The same goes for the "Dubstrumental" version of the title track. On my CD-r promo there's also an instrumental version of "Take me home" but since it isn't reported into the promo sheet or into Das Drehmoment website I don't know if it is a sort of ghost track...

Aptly fitting with the title, Gary Zon has announced that this new DISMANTLED full-length album would be his last album ever. It seems that he sees DISMANTLED as being a huge misunderstanding which still hasn’t reached and entered the expected reactions of the audience. Well, to me DISMANTLED is still an important addition to the label Dependent and has reached by far more exposure than millions of other bands out there could ever imagine of. But okay, tastes and personal preferences differ, so maybe this could be named as the most important term, why the things haven’t been worked out that smooth how Gary wanted it. DISMANTLED isn’t sort of a Hellektro/Harsh EBM band, period. But after the quite good self-titled debut in 2K2 he has made some wrong decisions to change drastically his style of music and to add his natural sounding voice providing the vocals. A musically development is something which every musicians tries to reach, but it seems that the Electro/Industrial scene isn’t at all that "open-minded" how it likes to be – drastically changes of the music directions do seldom end in a success in this scene. This is something which Gary had to learn painfully. However, "When I’m Dead" sounds to me much more comfortable than his last album "Standard Issue", with which I had my issues. It is simply because Gary has decided to offer a reflection of all different sound outfits he has provided so far including the overwhelming Dark Electro-influence from the debut, plus he has decided to collaborate with some talented guest musicians for one or another track. So you’ll get a track "Clench Your Teeth" with Gary’s voice being hefty manipulated with some vocoder effects – it reminds a bit on "Dystopia" available on the mentioned debut and can offer a similar voice-sample orgy too. For "Stay On Target" he has hired Skot Moat of the US act DYSTOPIATE whose debut "Feral State" is still in a good remembrance. He is responsible for the direction and programming for this track and already this fact points out some richer details than the last DISMANTLED works could offer. Favorite is the danceable track "Wisdom", which really picks up a catchy refrain and also Gary’s vocal performance comes out quite satisfying. With "Under The Flood" he has also included a piano-driven ballad, but this is sort of the rather whiny tunes with vocals too much in the foreground singing along the piano line – not at all spectacular. For "Change The World" Gary has included some guitar riffs to accomplish the song structure, maybe this track introduces the upcoming next music project NNN, which will drift more into an Alternative-driven style. "When I’m Dead" has its moments, no doubt. Let’s see if this was seriously the last audio sign of this music project.

There’s once again magic in the air! Whoever else than the both DISHARMONY-protagonists Lord Sauron and Ryby will be able to offer such another new epic sound experience pretty much in the already discovered line, but still quite diverse? I guess the main difference between DISHARMONY and this side-project can be explained, that OXYD is more Ambient-driven and a pure instrumental work. Some relations to the main project are of course recognizable, especially after the intense last DISHARMONY-album "Malignant Shields". DISHARMONY is colder-minded, rather KLINIKal when a play with terms is allowed. OXYD sounds more classically inspired and it allows different cultural influences to take place in some niches. It shouldn’t wonder you if you can hear some quite unusual and organic instruments like pipes or brasses as additional elements. "Traveller" is sort of this work by offering a DISHARMONY-like sequencer line while several multi-layered sounds at times with an oriental touch are joining the scenario. That’s fantastic cinematic music, timeless and addictive! Some voice-samples here and there get some inserts too ("Transformations", "From The Inside"), while I wouldn’t call them essential. "Transmission" surprises with a straight, FLA-like bass line performance which is quite unusual for this Slovakian duo and compared to all of the other featured tracks an exception. "Suspiria" with its broken rhythm patterns reminds then rather on DISHARMONY, until "Carbon" brings this album back on track. "The Frozen Moon", maybe asides "Traveller" the favorite on this album, can be named as being one of the most melodic pieces – again the multiple layered bass line and synth pad work is outstanding and light-years above the average Electro/Industrial band! It is an Aliens Production release, it is from Slovakia, it is the side-project of the DISHARMONY-musicians – aren’t this 3 reasons enough for you to buy it? A MUST-HAVE!