This is the second chapter and companion releases to the 'Moving Mountains' compilation of the British Juggernaut Services. The title already announces it, this one is the more song-oriented, rather calm selection of the clients represented by Nick Quarm. With the Italian duo XP8 another prominent project has joined forces with Nick and they are opening and closing this compilation with two tracks. The opener 'Burning Down' is the title-track of their current EP release. It mixes the styles between Futurepop and Harsh EBM/Hellectro and gives the impression, that both genres are closer related than expected. 'Burning Down' starts as a boring 08/15-standard Hellectro-tune, while the refrain itself offers more melodic maturity. Maybe I repeat it once again, but this project still suffers a lot from the absence of a good vocalist. No complains to the second track 'Trip', a fast-forward driving tune with robotic-like vocoder-vocals and fast 'n' furious sequencer lines. This one got remixed by the Russian project Cutoff:Sky. The British Static Distortion-recording artist MIXE1 offers an interesting genre-mutation with tendencies to Trip-Hop/Alternative styles. Very tasteful arranged as well as the emotional vocals are fitting perfectly on both tracks. Things are getting darker with the US-based project Pittersplatter. Vampire-, monster- and horror-genres itself seem to have an impact on both lyrical and musically expression, 'Necrotech' as well as 'Mummies and Music Boxes' are proving this. Cortex Defect is proud enough to have Mr. Nick Quarm as full member involved. Also this project represents a rather calm and melodic oriented Electronica sound-outfit on their both tracks with tendencies into Goth-Rock/Wave and/or Alternative genres. Well done and consumable stuff. Kaltherzig lately could receive a lot of exposure through the German glossy print-magazines like Zillo. But seriously, I find their Goth-/New Wave-sound relative repetitive and uninspired. Already this compilation holds much more promising projects deserving the same the same exposure. Retrogramme for instance have a great talent in the Electropop/Futurepop genre. Their track '911 For Locals' combines attacking rhythm patterns with a clear male vocal performance plus a convincing melodic aspect. Congrats also to the very good second track by them entitled 'Heaven Is Closer Than You Think', which includes mighty guitar loops to support the clear vocal performance in the refrain. A project definitely to follow! Nevertheless the crown for providing the best and most outstanding tune goes this time to Australia and the male/female duo Revenant Cult. Maybe we have here a tiny, more electrified version of a prominent project like The Birthday Massacre, but their track 'Spectral Heresy' is a well balanced Futurepop-related Electronica-track filled with high-end programming skills as well as tasteful arranged synthesizer layers. But best content of their sound is the compelling female vocal performance. Seriously, this is the most emotional and best female vocalists I have heard in years! Keep an eye on this duo; they are going to be HUGE! Revenant Cult then add a remix contribution of them on a track of the Hellectro-act Psykke into the ring - well done, but not comparable with the possible top-notch class of an own composition. Two further guests have finally found a slot on this compilation: Plastic Noose and Tactical Module, both already featured on the companion release 'Moving Mountains'. Plastic Noose once again convinces me with their fat and noisy bass-lines and the energetic vocals - although the lyrics, well, do not let me sweat! Tactical Module offer again 'Dead Zone', but this time remixed by Cortex Defect. The problem remains the same: I can't stand the quality of the vocals, which are still drowning deep and plain into the mix.
It isn't a secret if I tell you, that I play this second chapter a bit more often than the first installment. Maybe I get old, but I enjoy Electronica music with attitude and own ideas. If it then provides a good composition and not only a harder-than-hard attitude I am mostly on board. 'Calming Cyclones' offers some valuable participants with stylistically interesting ideas, so let's see and hear how and in which direction some of them will develop.

We at the Chain D.L.K. are welcoming and sending congratulations to our colleague Nick Quarm and his new activity under Juggernaut Services. Nick has made himself a quite good name as reviewer/interviewer for the Swedish Brutal Resonance webzine. He has established with Juggernaut Services a promotional tool to interested underground artists to extract more exposure out of Nick's experience and world-wide based contacts. In the first instance Nick works with his clients to gain attention by the international press, promoters, online-bloggers and other resources. His website introduces widely this promotional agency, so I leave it for now and start to concentrate on the music content of this first compilation compiled to introduce the most important content of the whole concept, the artist. 'Moving Mountains', which is available via the Bandcamp website of Juggernaut Services, represents the rather hard side of his clients and it is filled with driving beats and harsh distorted vocals. Some ideal stuff to invade the dancefloors of the darkest clubs is pretty much available here. The COP-recording project nolongerhuman opens and also closes this compilation and this one already counts to the more prominent clients of Nick's agency. 'One For You, One For Me 2010' as being the opener already sets the standard on a very high level and if I listen to the used synthesizer pads, song structure and vocal processing, I feel myself pretty much remembered to Suicide Commando's 'Axis Of Evil' album. Also the closing track 'Transcend Humanity' impresses with a straight but melodic sound-design and it is quite clear that this project can be hardly topped by the further participants. Next one is the UK-based project Tactical Module with 'Dead Zone' the title track of their latest, freely available same-titled EP (http://tacticalmodule.bandcamp.com/). Straight-forward produced beats and sequencer lines supported by dark Metal-like guitar-riffs, but unfortunately with a very poor sounding vocal performance are the leading elements of this appearance. Cease2xist are one of the British hopes to storm on top of the Harsh EBM genre, but compared to the crystal-clear quality of nolongerhuman they are suffering a bit on the fact not to have the best studio possibilities available. Like most of the invited projects on this 15 track-compilation, also Cease2xist present us two tunes. 'Teenage America' is a great composition with a well recognized socio-critical content, but also 'Tonight' convinces. San Diego's duo RetConStruct comes up next, also they could enter two slots on this compilation. They are to me pretty much gifted with talent, but at times they are dwelling a bit to much in obscurity. 'All Gone Awry' provides a strange and out-of-range-sounding vocal performance which actually ruins a good track, while their straight produced second appearance 'The Maelstrom' is the much better done track. With the Poland-based project Controlled Collapse and their two appearances 'Halloween' and 'This Nightmare' you'll get another relative prominent contributor to this compilation and it does good to hear Mr. Wojciech leaving the field of Harsh EBM/Hellectro to the other kids. This band has grown and reached maturity, the arrangements are pretty much filled with details, while I sometimes dislike the deep, a bit monotonous sounding vocals. However, musically on a quite recommendable course, keep it on. Warsickle hails, as far what I know, out of the Czech Republic. Their first track 'Help From Outer Space' is a well-done Dark Electro instrumental tune, while the second 'Call For Help' suffers again under a not convincing vocal performance. It gets heavier and to me hard to bite with the Australian quartet of Eschaton Hive - that is hard and raging Metal-Industrial music, which is in the first instance louder produced than bombs - while this doesn't make it any better. And please don't ask me what kind of poem you can extract out of a title like 'Zombie Attack Plan', phhh. We have two additional one-track appearances with the rhythmic Powernoise-project Tapewyrm - actually a good and unique sounding addition to this genre - and the Scotland-based Industrial project Plastic Noose. Their 'Zu Allen' features energetic male vocals - actually good and natural sounding vocals - in a rusty Electro/Industrial/Coldwave-like sound environment, which reminds me somehow on a classic project like Carbon 12 (... who remembers them?). Nice to hear a project to break a bit with conventions, this one is recommendable - through the darkness we will hear!
All in all a first nice overview of the musically harder-minded projects presented through Juggernaut Services - it has highs and depths, but I guess this was to expect. This compilation as well as the follow-up contender 'Calming Cyclones' is currently available as downloads via the Juggernaut Bandcamp website, but there are plans to release the best participants out of both as a real pressed CD. It belongs a bit on your will to support the Electro/Industrial underground. So you can be a part of it by donating via IndieGoGo here: http://www.indiegogo.com/juggernautcd. The advantages for you can be told: you'll be the first in the world to own the releases, and some of the Juggernaut acts have put personal gifts in the pot to say thanks. In recent news, the track listing for the CD release is in development. To top all this, the release will have unreleased and exclusive tracks by God Destruction and Rein[Forced]. So let's get in and join the forces of the Juggernaut Services and its attractive roster.

In a 2011 interview with The Quietus (http://thequietus.com/articles/07199-william-bennett-cut-hands-whitehouse-interview), William Bennett talked about the effects of polyrhythms on the nervous system, that when we run out of body parts to move, 'It (the rhythm) goes inside, and things happen inside on a more metaphysical level. And on the more rhythmic tracks that's what I'm attempting.'

Cut Hands is William Bennett's so called 'Afro Noise' project. He's best known as one of noise music's longest contributors, as one half of the duo Whitehouse, formed in 1980. Whitehouse would push audiences to exultant states by use of transgressive sounds, language, imagery; a 30-some year barrage to break down all beliefs, all conditioning, to push someone through to a pure experience. Over the years, what most people have come to think of as 'noise' (power electronics, HNWs, synth explorations, tape collage) has become increasingly easy to assimilate: its the same experience every time. Bennett became wary of the technological arms race of the traditional noiz freak. After experimenting with a DJ night of Vodoun ritual drumming at Glasgow's Optimo club, Bennett realized the ritualistic potency and ability to confound and trance-form, when exposing audiences to the rhythms. He pared his music down to sparse percussive elements, then layered with feedback and buzzy synths.

'Black Mamba' is the second full-length from the project, after last year's 'Afro Noise vol. 1', which made everyone drool. Stripped down and sparse, cut hands weaves layers of djembes, doundouns, ksing-ksing and synths into a hypnotic tapestry that will make yr insides dance, for sure. 'Witness The Spread Of The Dream' kicks things off with a tmantra, read by Mimsy DeBlois, who designed the sweet, sweet voodoo album art, and sounds like a creepy hypnotism loop, until tearing into the pounding tribalism of the title track, that sounds like walking into a voodoo ritual, midstep. This tracks showcases one of the deadly strengths of Cut Hands: the ability to change tempo. Much of this record reads like bleak, gray British techno, but almost all dance music gets caught up in one BPM, one groove, and it takes a real prodigy to make a computer swing like a human. Cut Hands African ritual is the height of complexity, its like trying to count a snowstorm. The rational mind goes to sleep, overwhelmed, allowing for something beautiful and ancient to transpire. This version of 'Black Mamba' is a slight variation on the vinyl edition, released earlier in the year, and answers yet another question; yes, you do need to buy every Cut Hands release.

Its continually inspiring to see people who've been around for a long time constantly reinventing the game. They've had time to master and explore their craft, and sometimes it seems that the post-punk underground has been able to produce a number of downright geniuses. The clubs are perfectly poised to fall for Black Mamba, a part of a number of blackened post-Techno magicians rolling up their sleeves and getting primal. In a world that is predominantly defined by people making similar styles of music with similar gear, there is an increasing demand for electronic music that is homespun, handmade. We are all moving into the Heart Of Darkness, with ritual rhythms lighting up the night with the ghosts of embers. William Bennett, (and Raime, and Ekoplekz, and Shackleton), are sneaking in trance music to the clubs, bringing the ultimate dopamine fix, waking something ancient and powerful. Its coming out of a movement from Throbbing Gristle and Cabaret Voltaire, through '90s industrial music and rave. Its dark and its smart and its arty and its weird; i, for one, have not been this excited about a wave of music for a number of years. Hopefully, Cut Hands continual ascent forces cliche noise bands, as well as electronic producers, to step up their game and not get too fatted. And also hopefully, this decadent ritual will continue to spread.

Some might say that the unbelievable success of projects like Alien Vampires would animate several projects to express their musically path in a similar way. Also Outworld, a trio hailing out of the very south of Italy (San Severo / FG) have a past, which has its roots in a Metal-related sound-outfit, until the members decided in 2002 to establish this music-project to storm the dimension of a more Electronica-/Industrial sound-design. So far this plan has been followed with limited success and to be fair enough, I need to say in advance, that their music mixture isn't free of the notorious, nearly hatred 00ntz-00ntz attitude ('Distant Future'), which still infects authentic EBM / Dark Electro with Trance-/Techno-driven virus internationally. But - and not to lead this review in unnecessary negativity - these Italo-gentlemen have some good and own ideas plus they come up here and there with attitude, which could help them to reach a wide audience and to bridge mediocrity. 'Hidden Evolution Path' is already the fourth album of this band-project and offers some satisfying tracks with 'Scarring Memories' for example, this tune present crafty EBM bass lines and a sound-design knocking at VAC's door for entrance. Also the opulent arrangements of 'We Fall All Alone' bring a smile on the face of the listeners - dancefloor-compatibility included. Constructive criticism should be mentioned too: I would recommend them to continue generally in this direction, while a little bit help regarding professional mastering / polishing of some sound ideas wouldn't be a wrong idea. The vocals are following a bit too often that 'cookie-monster-through-whisper-box' attitude, also here a bit more own initiative can be helpful. There is nothing to complain regarding their artwork which features a text-/lyric-book and their overall dark and haunting presentation. I must admit that haven't heard of them before, so all I can rate starts with 'Hidden Evolution Path', but since they are a three-men-outfit, how are the things and reactions regarding live performances?

It seems like Dominick Fernow, aka Vatican Shadow, also known as Prurient, may be intent on becoming the next Muslimgauze. Since its inception in 2010, Vatican Shadow have spewed out 4 Albums, 2 EPs, and 11 assorted cassettes, downloads, and ephemera. The subject matter has been grindy, mesmerizing post-industrial techno, slathered in Gulf War propaganda and middle-eastern mysticism. Like muslimgauze, the material is largely rhythmic, trancey and repetitious in nature, luring you into a theta-state lull of grimey opium dreams. On 'Jordanian Descent,' one of 3 EPs offered up as digital downloads by Hospital Productions, seemingly to whet appetites for the forthcoming 'Ornamental Walls' LP coming out on Modern Love, later this month.

The question with Vatican Shadow is "do you like repetitious grinding, lulling techno?' If the answer is yes to this question, then you will undoubtedly love 'Jordanian Descents' 20-minute mantras. Both tracks kick and boom with a hypnotic low-end, characteristically warm and sanguine with Fernow's loving cassette-tape treatment. Vatican Shadow tend to play with a set-up of multiple tape decks, and assorted sound machines, synths and drum machines presumably. Songs tend to go on as long as the tape lasts, and Fernow gives the masses a sneak peak into the noise underground where he grew sharp and dangerous. With Prurient, he vomitted out twelve years of harsh-noise catharsis, but grew bored with the stale, predictable moves. He became more tuneful still playing synth with coldwave misanthropes Cold Cave, and developed an endless techno habit during constant touring.

'Jordanian Descent' seeks to hypnotize, endless crunchy beats with evolving layers of incoming soundscapes and sub-rhythms, clicking in like glass clockwork. They go on long enough, they can really pull you in and put you in a serious trance. Its like watching oily water, lightly rippling - through the layer of grit and scum, subtle ecosystems emerge. If you stare into the dark waters of 'Jordanian Descent' often enough, perhaps you might notice the care and craft with which it was preserved and brought to you? Originally released as a cassette, before becoming digitized, everything was lovingly analog and homespun. With Vatican Shadow's ubiquitous Gulf War graphic design, featuring Heroes of the Gulf War playing cards, it seems like Dominick Fernow is driving at a point, hacking out his slice of the world. After over a decade in the underground, making music and running his label/store Hospital Productions, we look to people like Dominick Fernow to see which way the ship is sailing.

The thing is, being surrounded by the BitStream, we must all pick and choose with allies we shall take on, which aesthetic we shall wear. Time is our commodity, and we don't have time for everything. With people like Dominick Fernow, they are unrelenting in their vision. They're doing their thing, and inviting you to partake. Delving into his catalog, current and past, can lead you to gloomy realms of inspired otherworldly darkness and joy, people like Regis and the Downwards Records crew or the aforementioned Muslimgauze. Beat junkies with camouflage and leather jackets - they drink from the same virulent well poisoned by William S. Burroughs and Throbbing Gristle. Smart punks with good taste, but often times unfriendly or socially awkward.

The two tracks of 'Jordanian Descent' draw you in, and keep you there. 'Jordanian Descent (Sharia Law)' is 20:06 and 'Jordanian Descent (Guantanamo Military Commission)' is 15:13. Both feature a consistent beat throughout, with other loops, rhythmic and melodic, shifting in and out, oftentimes imperceptibly. Each side is about long enough to walk to the store, or ride to work, and i highly recommend giving this a spin during yr commute. It can block out urban grit, and put you in a really sensual lull for the task that lay ahead. I can't wait to hear the other two singles, as well as the new full length. I am getting intrigued by this man and his actions. You should pay attention.