Music Reviews

Palmbomen II: Memories Of Cindy

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Feb 12 2018
Artist: Palmbomen II
Title: Memories Of Cindy
Format: 2 x CD (double CD)
Label: Beats In Space Records
The concept behind this release from Kai Hugo is an unusual one, both centrepiecing and eulogizing a woman called Cindy who may or may not exist, circling around themes that are on one level romantic but on another more sinister and bordering on obsessive.

Musically though things are much more straightforward- this is downtempo melodic house, a big collection of mostly-instrumental house made up of straight 4/4 drum machine patterns underpinning layers of synth arpeggios and pads, coupled with TB-303 style acid bass notes in a very refined and moderated form. Most of the tracks are little more than grooves, structured in fairly conventional DJ-friendly ways with predictable breakdowns. For some tracks, imagine Hardfloor tracks but slower with more dreaminess and less attitude.

What vocals there are, such as the word “Seventeen” sung on loop during the track of the same name, are generally quite ethereal and complimentary but they never step out far enough to really be described as songs. “Dreams Always Come Thru” is one of the best examples.

More notable production points include the unusual tape wobble melody effects of “RTL Unifeeder”, and “IAO Industries” which is a little harder and more raw-edged and slightly more intriguing for it.

At 22 tracks and 88 minutes, it’s a little self-indulgent and it could certainly have been tightened up into a single CD release (I’d have to single out “Dancing & Crying” as particularly flat). It’s a smoothly made and consistent musical vision but it perhaps lacks some of the twists and turns it maybe needed to make it really stand out- though given their YouTube activities, maybe Palmbomen II are more interested in adding visual character.

VV.AA.: Sounds From The Matrix Vol. 19

 Posted by Steve Mecca   Electronics / EBM / Electronica
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Feb 11 2018
Artist: VV.AA.
Title: Sounds From The Matrix Vol. 19
Format: CD + Download
Label: Alfa-Matrix (@)
Rated: *****
A great way to discover new music and bands (or maybe some bands you already know but haven't kept up with) is through label compilation CDs. For the electro/industrial/synthpop genres, few do it better than the Alfa-Matrix label. This is their 19th label compilation, and that has to count for something. Alfa-Matrix comps can also be collector's items after they go out of print, so it's worth getting the physical CD. I can't say I've been lucky enough to own many of them (I think I acquired
one years ago, but can't remember where it is now) so I can't compare this one to others, but there is plenty of really cool stuff on it. Twenty tracks by twenty different artists, and I can only give a thumbnail description of each. Begins with ElektroklÄnge doing "Heimkonsole" (Mehrsprachige Version), a retro Kraftwerkian number with vocoder German vocals, steady kick for the beat, and bubbly synths. Low key but effective. Metroland offers "Man in a Frame," with spoken male & female vocals in the same mid-tempo rhythm as the previous track. Nice noirish synthwork. AD:KEY picks up the pace with "Reanimator"(Phoenix Version), more German vocals (male & female), in monochromatic melody, and the enhanced rhythm makes for good dance fodder. ELM's "Wapenrustning" (Hard-Mix) begins with the vocal chorus - "Know your place in the food chain" so you'll know right off the bat what this song is about. Carried off with a basic beat and nice bass synth groove, but not much more than that. Mildreda's "Neon Eon" starts out with a jarring vocal sample - "I said your fucking baby's gonna burn" and the music is full of plenty of industrial samples and sounds amidst the synths with
vocals that border on hellectro. It's kind of a mish-mosh but still pretty cool. Then you get "Blowback" from Psychic Force and this is a monster of a dancefloor stomper. The hook is in the instrumental synth break, and although the melody sounds like something I've heard before, it still carries some weight. Vocals sort of along the lines of early Front Line Assembly. Star Industry's "Shiver" (Aesthetische Cold Mix) sounds like John Foxx gone electro-industrial. So far this is the best realized track on the CD, with really good hit potential. "Anathema" by Crytek offers both raspy and clean vocals, but it's the clean vocals that have the grabbing hook. Mondtraume shows you "All You Cannot See" (Crytek Mix) and though the vocals are kind of "meh" it has a good driving beat. Kant Kino's "Wrong" sounds right to me with a really good chorus hook and brief amusing sampled phrases. Junksista featuring Essence of Mind disses "Monday" (everybody hates you), and sort of sounds like two different songs, but is memorable enough. I'ce already reviewed Psy'Aviah's "Game Changer" on the "Lightflare" album review, but it fits in well enough with the other tracks on this comp. "Kamikaze
Angel" comes courtesy of Helalyn Flowers, and it's the kind of track that makes you want to hear more from this band. Powerful female vocalist sounding like Pat Benatar gone electro-industrial. Outstanding, and another highlight from this comp. "Dead Sea" by Lovelorn Dolls didn't impress me nearly as much; sort of came off like Bel Canto gone metal. Sin.Sin featuring Helalyn Flowers has a moody groove, but wasn't nearly as good as Helalyn Flowers' "Kamikaze Angel." Imjudas is the dark
electro project of maXX from Helalyn Flowers (that band seems to have their prints all over this comp) and "Tulpa" sounds like Duran Duran gone dark electro. If nothing else, Komo Kommando will likely be remembered for their catchy "Music is My Religion"; just one of those songs that invades your brain and won't let go. Now here's a blast from the past - Mentallo & the Fixer with "Methodical Damage." Every lesson these guys ever learned from Skinny Puppy is packed solidly into this
instrumental track. Not likely to get much radio or club play but it's still loads of industrial fun. Implant's "The Phone Call" (Implant RMX) is strange and experimental for sure. Weird techno meets performance art. Final track by Schwarzblut is indeed an interesting one. Classical meets EBM, sung in German and I wouldn't have it any other way with these folks. Light and dark, heavy and floaty, totally eclectic, poetic and wonderful. I was actually stunned when it ended and left wanting more more more!

So as you can see there's plenty of good stuff on this Alfa-Matrix comp, and it can be yours for absolutely free- with a purchase of one of their physical products from the Alfa-Matrix store (CD, DVD or vinyl). Or, you can listen to it streaming from their Bandcamp site for free! If you'd prefer a digital copy, you can get that there as well for about 9 Euros. Go buy something- support the label, support the band, support the music!

Sandunes: Does Bombay Dream Of Nola

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Feb 07 2018
Artist: Sandunes
Title: Does Bombay Dream Of Nola
Format: Download Only (MP3 + Lossless)
Label: Artist Originals
Mumbai-based Sandunes offers up a short 4-track EP of quirky downtempo electronica that blends some Indian flavours into bright, lightly-stepping, glitchy, faintly hip-hoppy electronica.

“Does Bombay Dream Of NOLA” is a strong opener, centring around very short Bollywood-like vocal samples, completely reshaped into new patterns, with warm pad envelopes, Rhodes-like keys and tightly aligned, slightly jazzy percussive elements. “Gold Streets” also has a warm swagger to it, perfect strolling music. The quirky fade-then-return before the end is a particularly interesting touch.

“Nutterfly” is heavily reminiscent of Luke Vibert’s Wagon Christ monicker, with a lovely strutting groove that underpins some bleeps and spoken word snippets that exude a greater sense of fun than perhaps Sandunes actually intended, while final track “The Trust” does manage a more sombre atmosphere with long synth pads and a sombre melody playing well against another steady and toe-tapping lower section.

Clocking in around 13 minutes overall it’s a brief calling card, dipping into a very pleasant and poppy set of arrangements that sets high expectations for future releases. It also comes as an audio-visual package, with every track accompanied by animation.

Shuttle358: Field

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Feb 05 2018
Artist: Shuttle358
Title: Field
Format: LP
Label: 12k
Initially there’s something joyously perky about Dan Abrams’ album “Field” that the opening spoken-word sample about death doesn’t manage to diminish. Revelling in late 90’s digital sound processing, bleeping and lightweight glitches as though spearheading a revival of an era overshadowed by the amount of 80’s sound revival we’re currently seeing, it channels the old attitudes of Luke Vibert and Richard D James but takes advantage of some more modern and soft-edged production touches to create something very listenable.

But after the playfulness of tracks like “Caudex” there’s also a quality and depth on show that reveals itself as we get a few tracks in. The symphonic multi-stage moodiness of “Edule”, with its softly rolling pads, is particularly rich- “Sea”, following the same formula but with an added note of tension added by repetitive high-pitched notes, is also strong. On “Blue”, the soundscaping veers a little towards over-recognised synth tones but without totally breaking the illusion.

It’s a very well-realised 11-track, 38-minute album with a clearly defined identity. Even at that relatively short running time it perhaps runs out of new ideas before the end, but it’s certainly smooth and accomplished.

Langham Research Centre: Tape Works Vol. 1

 Posted by Stuart Bruce (@)   Electronics / EBM / Electronica
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Feb 04 2018
Artist: Langham Research Centre
Title: Tape Works Vol. 1
Format: LP
Label: Nonclassical
Four-piece Langham Research Centre’s “Tape Works vol. 1” is an unashamed revelling in the classic sounds of 60’s and 70’s electronic experimental music. Analogue oscillating bleeps, tape stops, short detached vocal snippets and groans, classic everyday found sounds like creaking doors and old-fashioned telephone noises run through vari-speed effects and playful percussive sounds abound across 11 fairly quirky, but not actually out-and-out comic, audio fiddlings. They rightly credit the inspiration of Delia Derbyshire and Daphne Oram in an album that sounds like it could’ve been dusted down from a BBC vault unopened since 1971, instead of being a recent set of composition. Many of the tracks even have that soft cassette hiss underpinning them for extra authenticity.

A track title like “LOL” seems anachronistic then, on perhaps the weirdest piece were monkey laughter is looped and layered into something very tripped out. “Sink Speeds” and “Executive Balls” stand out as notably different sonically due to the much heavier use of old documentary narration and car adverts with rough cutting which results in something much more akin to the raw collation of 80’s Negativland releases.

Several of the tracks are much more conventional in their layout though, with “Roadside Picnic”, despite its title, an example of an interesting take on putting spontaneous metal and percussive noises through a mangler to create something dynamic and awkward that you just can’t help but want to follow. The prosaically-named creaky sound of “Doors”, wobble-heavy “Nudge” and longest piece “Quaser Melodics” delve into deeper, sparser territory, with some of the atmospheres allowed to breathe a little further and more consistently.

There’s a definite sense that it was fun to take it seriously when evolving this release. But for the haircuts even the artwork wants in on the retro feel that’s very well realised here. If you’ve played your old Radiophonic Workshop LP’s to death then here’s a sound-alike you’ll definitely appreciate.

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