Little Mighty Rabbit is a 3-song EP featuring Lords of Acid's first new, original recordings in over a decade. The title track, 'Little Might Rabbit,' is a fun track about a woman's obsession with her favorite sex toy. The song opens with synths kind of emulating a siren and then kicks right in to the song's chorus, which is driven by heavy, kick-ass drums and bass. 'Rabbit' features DJ Mea's sexist, and best vocal performances on the record (and easily the most memorable songs of the trio). 'Drowning in Ecstasy' is a more up-tempo, four-on-the-floor, anxious-sounding track with a deep bass groove. The anxiousness of the music underscores the lyric; a woman describing the kind of man she wants and the many pleasures she needs him to provide her. On 'Sole Sucker' DJ the tables are turned and DJ Mea plays the part of a dominatrix that taunts and humiliates her slave to a slow, noisy groove.

The Ep includes 9 remixes of 'Little Mighty Rabbit,' some of which hit, some miss. My favorite, and most creative remix, is the 'tweaker Mix' by Chris Vrenna and Jesse Hall. It starts off with a very dark and dystopian half-time, gets a bit disjointed and jolting, then comes together and builds into a 4/4 groove. The 'Bass To Mouth Mix,' with its pseudo Reggae dub vibe, by AK 1200 comes in a close second. But, from dance to hip hop to industrial there's easily a remix for everyone.

Little Mighty Rabbit is a fun record that delivers what the Children of Acid expect, and want from, Lords of Acid; dark, sexy songs with slamming danceable grooves about self-pleasure, sex, eroticism and S&M.

About a month ago I reviewed the first Nostalgie Eternelle reissue of their music which was a 7" EP released by EE Tapes. Now, as I anticipated back then, Final Muzik, the label of Gianfranco Santoro, guy who released some of their tracks back on those days with his label Discipline Prod, has just released a CD which gathers twenty band's tracks that have been released during the 1988/1991 period on compilation and tapes. Available on a run of 600 digi slim CDs, NOTRE DEBUT shows really well what was the sound and the attitude of the duo formed by Stefan Heinze and Dieter Mauson: they used monophonic synthesizers to create pulsating drones and noises or noisy bass sounds adding to them sometimes clean reverb guitar, bass guitar, drum machine obsessive pads (which sometimes were treated adding distortion and reverb) and now icy detached or then melancholic vocals. Nostalgie Eternelle, in this way, were balancing their tracks spanning from industrial instrumentals (like "A Chilly Draught") to minimal synth paranoid tunes ("The Oak"), passing through minimal synth wave ("Skin Trade" or "Amazement"). Try to imagine a mix of early Cabaret Voltaire influenced by D.A.F. and Joy Division and add some cold and fog. Of the previous EP you can find only the track "Just Darkness", so if you'll become a fan, you'll have to purchase that one, also. Someone said that they are gonna to come back soon. If it's true, this compilation (which I hope it won't be the only one, since they recorded so many tunes in only four years) it's the right way to prepare yourselves to their new sound. This is the second release of Final Muzik Eighties sublabel. Stay tuned for more delicatessen from the past... P.s. Until the end of October the CD will be sold at a very special low price!

Emme Ya is the magickal/musical project of a Columbian guy called Edgar Kerval. His second album ATAVASTIC DREAMS AND PHALLIC TOTEMS has been recently released by Cold Spring Records. Being magically influenced by Aleister Crowley, Edgar based his second album on on the mysterious African Dogon tribe and their secret oral tradition. In particular, as the test pressing says: the Dogon had advanced astronomical knowledge beyond their means, without any instruments. They revealed that the star Sirius was orbited by the 'smallest and heaviest of all stars' and drew its elliptical orbit, which spans 50 years. This white dwarf (Sirius B) is so invisible that the first image was only obtained by scientists in 1970. But the Dogon also told of a third star in the system named Emme Ya (now Sirius C). This was only discovered in 1995 and only with the use of advanced infrared imaging. The Dogon say that their information was given to their ancestors through contact with beings from the star system of Sirius, calling these beings Nommos or 'the monitors of the universe'.
The five tracks of the album, musically, sound like a mix of early Coil of the "How To Destroy Angels" period, early Current 93 and Lustmord. Sidereal sounds are mixed with light melodic drones, vocal samples (mostly recitative vocals or people cries) and sometimes metal percussions and humming. Reading so, you could imagine that ATAVASTIC DREAMS AND PHALLIC TOTEMS is an industrial music pastiche but it isn't. Ritualistic music has its roots on bands we all know but Emme Ya succeeded into making his own formula working.

Computerus born in the early 2000s from Greg Kowalcyzk and experimental noise artist Trevor M. Wilburn, who has left the band forming a solo project called Iron Imp. Greg has been involved in the Toronto Industrial and Punk scene for over ten years being member of the Goth/Electro act Bitter Fall and the Industrial act Born Into Oblivion, then he formed the IDM/Electro/Hardcore/Gabber act Pink Noise, while writing songs and playing guitar in blues/rockabilly/surf/post-punk act the Blind Cats, playing bass for Mip, and drums in the Punk band Skullians. After ten years, Computerus is ready to spread the first self named album and thanks to the label Bug Crawling Out Of People we can check eleven tracks Greg produced. Computerus ideally can be filed into the industrial electronic scene that sees Ant Zen and Hands as the main labels. Tracks like "7 Souls" mix rich rhythm patterns to analog synth pads/basses to movie samples. The following "Creep" is based on percussive sounds, synth pads and samples. "Holy Hell" plays with similar elements but changes the sounds palette thanks to synth bleeps. Greg composed these tracks making them sound like there isn't no tomorrow and the feeling of an imminent catastrophe is vivid and pulsating

It's quite clear this German band is made up of willing musicians as well as it's evident they can blend well even if they come from different musical territories, being such a different "descent" the official explanation of their diversified style. Normally the circumstance of causing troubles to people suffering from that kind of obsession which compulsively urges themselves to file records or bands within watertight compartments should be something to be proud of, but Dust Of Everyday looks like just juxtaposing wav, gothic, rock, metal and pop without really experimenting any original mixture, so that they sound too staid. My impression could be considered a nonsense, as most of bands which melt together different genres sound so cool and interesting, but mixing genres doesn't automatically implythat such a mix could sound really fresh. By the way, premises are interesting as tracks such as Tomorrow or Afraid To Breathe, even if they could remind something else, show a valid approach to melodies and a discrete skill in emphasizing sound, but if you keep on listening, some tracks could appear too hesitating and excessively related to traditional American ballads or hard rock, whose prominence absorbs the relevance of some worthy proof of talent by single members of the band, but when they manage to wander off from such musical subjects, they look like quotist or even plagiarist. For instance, Stranded could be a very good song, thanks also to the delicate female voice by Nadine Kriegs, till the moment when the listener will easily identify DOE sometimes ride on Depeche Mode or Pink Floyd's intuitions. Even if they finish their album with a track entitled Requiem (whose very good refrain made the one I liked more on the whole album), I'd prefer to wait future releases to shape my peremptory opinion on them, as the continue changes of line up and the prolonged time during which this band dwelled on recording could have been hampered on a nimbler development of a more "personal" style.