I seldom paste and copy complete phrases taken out of the label info sheet, but for this latest Experimental-Electronica compilation album of the Russian label Lagunamuch, I have to make an exception: 'It took us two years to finish this monolithic release. The result was worth the effort. Unfortunately during these two years many unexpected things have happened. One year ago, an excellent musician and creator of this project, Alexander Matrosov, passed away. One year later we are dedicating this compilation to him. It is exactly the way he wanted to see and hear it.' There isn't that much to add, since Alexander Matrosov has been one of the leading forces of the Lagunamuch community and his passing is still a shock for all involved. We send our deepest condolences in the name of the whole Chain D.L.K.crew. Regarding the tragic happenings, this compilation deserves respect. Since this release acts like a requiem, it is nearly forbidden to alter any component of it with a review. Be assured, that you'll get an awesome looking (digipack- and artwork-design by Arthur Berent ' that dark and bluish city in between some mountains is his best work so far'¦), and heavily Industrial-minded compilation, which is an ideal introduction to several artists of this Russian Underground-Electronica scene. I have to name some favourites, although this is rather based on personal preferences: Speyer ('¦ that is one of the projects with Alexander Matrosov involved'¦) impresses with a straight and linear IDM-track named 'Dust', which offers a hypnotic rhythm pattern and grows on opulent synth-layers. Arthur Berent has his own project Abstract Avenue taking part with two tracks, from which 'Oxid' gets my vote especially regarding the cutting snare drum in use. Riverz End, also featured on here with two tracks, has received the 'honour' to compose the title track of this compilation, which is an Experimental-minded Downtempo-tune with several foiled recording quells.
Life and business somehow goes on, but this compilation is a great pearl, if you like to check out some alternative IDM/Modern Ambient-/Electronica artists. That shall not sound disrespectful, but I am sure that Alexander Matrosov wanted to see us and all involved from the side of the Lagunamuch community to continue with normality. Make your contacts and purchase this awesome looking and sounding compilation.

Tracklist

01 Indu Mezu vs Flagra - The Game
02 Speyer - Dust
03 Riverz End - Triangle Man
04 Abstract Avenue - Oxid
05 Autopilots - Machine
06 Nightech - Grey Strata of Subways
07 L.F. - Delta-Foxtrot
08 Abstract Avenue - Kolkster
09 Speyer - Connecting to You
10 Riverz End - Main Control Board
11 Egofriend - Condition Rock
12 Alexandroid - Station MIR

Although the New York-based IDM/Breakcore-musician Stephen Knight is a relative known person in the international Industrial-scene, I must confess, that I have passed almost all of his earlier works, which includes his both previous albums on Hands, 'Square Form Annihilations' and 'Flawed'. After checking the content of 'Misfire', I should fairly admit, that this could have been a mistake.
'Misfire' blows me away with its tough and uncompromising kind to install multiple Drum'n'Bass/Breakcore-patterns in every thinkable free slot of a part. It starts dark and layered with 'Before The Storm', but the inferno-like percussion-storm, which features a constant Powernoise-influence, presented in those pummelling tracks like 'Terminal Accretion', 'Stress Failure' or most of all 'Drown' can cause damages to the nervous-system of an unprepared listener. Pain is only for the weak and Edgey takes no prisoners.
Stephen composes his very own highlight with the following track 'Chaosbane', which reduces a bit the overwhelming Breakcore-injection and rather progresses with Dark Electro-like synth-pads and mysterious voice-samples thrown in. The raw and noisy treatment returns and continues with the following tracks, until the last one, 'Floor Crank', allows in between some rest.
'Misfire' is a hell of a noisy Breakcore-album, somehow comparable, if Lucidstatic and Famine would celebrate a studio session under the influence of LSD. Harsh, pounding and not at all suitable, if you plan to sit still while listening to it ' but fucking awesome, if you search for stuff to terrorize your neighbourhood.

The sketch of the skeleton belonging to some Siamese twins is a becoming dress for the first tangible self-titled release by Simon Balestrazzi, one of the most prolific sound forger, mainly known as the only enduring member of the notorious exmperimental and industrial Italian cult band T.A.C. (acronym of Tomografia Assiale Computerizzata, i.e. what is known in English speaking countries as "computerized axial tomography", a notorious diagnostic test, a bizarre name marking some of the most interesting combination between progressive-rock and industrial gothic) and former member of Kirlian Camera. Such a pertinence hangs on the circumstance A Rainbow In My Mirror has been completely recorded in two "twin" but mirrored moments - autumnal equinox in 2009 and vernal equinox in 2010 -, surgically joined together in one 21 minutes-lasting trance inducing track, whereas the whirligig of sounds departing from a sort of drone built on piercing and almost cacophonic sounds interrupted by a panting breath and flowing into a sort of cloudy organ - including one prepared toy psaltery (!), the glorious MS-20, many field recording (really disquieting some vocal childish ones appearing in the middle of the sound storm), arguably processed through Bidule, a funny modular music software, developed by Plogue - becomes gradually more vortical even if it seems possible to recognize the transition from an equinotial day to the following one when some natural sounds burst into the sonorous space previously crossed by metallic rushes, clanging hums and other sinister presences. Simon shows a considerable talent as sound-weaver and although many moments could sound quite abrasive, the bountiful way by which he fasten together the manifest esoteric aspect of this product and the stylistical exploration into one creature is somewhat interesting.

This release is a split between Liquidarlo Celuloide that is peruvian trio of industrial music with psychedelic influences and Psygoat a power electronics outfit.
"Amantes de cuerpos volcánicos" opens this release with noises giving colors to the initial drone, "Antorchas en la gruta serán parte de ella" is a huge mess of high frequencies oscillations, "Seis feroces perros salen de su vientre" tries using some beats to give some movement to this formula. "Escila contempla con espanto al navegante humanoide" is a quieter track closing this side of the record.
"Psygoat" is the work of "Animal Machine" and is a long (15 minutes) track that is harsh noise assault made of videogame-like sounds.
Industrial noise music without anything new to offer but enjoyable for fans. Average music.

Last year has been excellent for several bands and music projects to start a comeback and the return of LEXINCRYPT a.k.a. Justin Cameron, newly signed to Crunch Pod, has been one of the most remarkable ones. No doubt, one half of the too early gone cult-project SYMBIONT hasn't forget his amazing abilities, with which he could release two full-length albums on DSBP in collaboration with SLC's Backscatter Records. 'Scar Tissue' is a logical and pretty much business-related EP taken out of Justin's last years' album 'Of Unsound Mind', his comeback release on Crunch Pod. As usual for an EP, which is intended to offer alternative stuff for DJ's, promoters, etc., you'll get mostly stuff, which counts to the rather straight and danceable oriented compositions of Justin. The impression of his 3 full-length albums released throughout the years, which all offer their depth featured through an ominous, classic Dark Electro-like sound-design, flies a bit under the radar through such EP releases like this one. 10 tracks have received a slot on this opulent EP and all are remix contributions, for the most part provided by Justin's dear label comrades like SINSECT, MANGADRIVE, or the Crunch Pod-state-of-art-project, Mr. Ben Arp's C/A/T. Other important people and friends in Justin's career found a free slot too, LITTLE SAP DUNGEON (which offer contrary to the main direction a harsh, Downtempo-like interpretation of the title-track...), XIESCIVE (That is the new, follow-up project to BOUNDLESS, alias Trevor 'Xon' Weeks...), or such long unheard projects like C2 (the harsh Powernoise side-project of CONTROL.ORG), or FILAMENT 38 (between all of these rather Powernoise/TBM-inspired projects a nice variation through their inclusion of heavy guitar riffs...). It doesn't need to rate the winner of this remix 'contest' on here, as this turns rather into a matter of personal preferences. MANGADRIVE have received the opening crown on this EP and are providing the most assessable work on here, which should be able to flame the dancefloors, while LITTLE SAP DUNGEON may represent the nearest of the above mentioned ingredients normally discovered in LEXINCRYPT's compositions. It's a pity, that Justin himself doesn't offer anything originally composed for this EP, like an unreleased tune, so this may alters a bit the impression of a new and cheerful listener. However, this stuff still rules.