Like some other labels out of the international Electro/Industrial scene, also the NM-based DSBP label can look back on eventful 10 years and likes to celebrate this anniversary with a new compilation out of the legendary "Futronik Structures" series. To sum this event up exactly, we’re already on the walk to the 11th year of existence of this label – this compilation therefore comes a bit late, but there are several plausible reasons for this. This 10 years have left several scars in the face of label chief Tommy T. Rapisardi – rhetorically spoken. 10 years of swimming with sharks, of getting screwed by so-called promoters, selfish bands, foreign labels and questionable distributors, of being the most tortured victim of a hazy governments’ explanation regarding copyrights on art and music, of getting ignored by a wider audience, and at least of getting a victim of a consumer-"friendlier" technically evolution which favors the digital download procedure over the good old purchase of the physical product, the CD.
Let’s point out for a moment the still rushing illegal downloads provided by piracy sites – does the support of hard working musicians and labels by the so-called music consumer (i.e. "FAN") seriously end when this means they’ve to move their fat asses away from a PC? How can anybody prefer to buy online some digital mp3 files instead of taking a walk to the next record shop, listen to some stuff, and then buy some CD’s – the physical product, which still offers info, lyrics and cover art? People always look for the easiest way which offers the best comfort – some do call this degeneration...
The music business is currently in a strange situation generally and it is still unclear in which kind/style/format it will continue in the future. And before I fall more and more into a rant of the growing army of PC + soundcard musicians, the before ignored point of the illegal downloads and the massive signing of newcomer acts by labels which like to satisfy some distribution handicaps, I like to point out that all of this are valid reasons that CD sales have disappeared to nearly ZERO – an effect which hurts an underground label like DSBP the most of all. DSBP is – if you like it so – the underground of the underground. To survive day by day needs a huge amount of hard work – at least that Tommy and the DSBP have reached now more than 10 years, proves him right with some decisions. It sounds strange, but I like to compare Tommy’s efforts a bit with the Spanish hero Don Quixote – both are fighting against windmills, as above mentioned. But for you as a valuable music consumer I can assure you that there’s no need to avoid the rich filled DSBP label roster out of foggy reasons like a missing bar code or such nonsense. What counts is the music – and here you’ll find the same top-notch quality like you would find it at your favorite label like Metropolis, Out Of Line, Dependent or Alfa Matrix. Several proofs for this can be heard here, on this compilation for instance.
This compilation opens with BIO-MECHANICAL DEGENERATION, the side-project of label chief Tommy T. (DIVERJE) and Vince Pujol of the French act E.S.R.. They like to offer a previously unreleased remix of "Hybridization", originally taken from their debut release "Exoskeleton", which can convince here with the E.S.R.-typically sci-fi-inspired synth textures and a nice manipulation on the vocals by using different vocoder effects. The duo of ENCODER follows and offers with "My Enigma 2.0" a decent new and unreleased track walking on a calmer path. Follows then the long missed Brazilian act Aghast View with an unreleased track entitled "Blue Stream" – a surprisingly catchy and coherent piece with high-end programming abilities very much in that style like they had offered on their now more than 3 years old last release "Drifter". TAU FACTOR is next with the PRE-EMPTIVE STRIKE 0.1 remix work on "Motionless", taken from the last release "Second Stage Ignition" – a good and modern sounding remix rather following the current hypes, but maybe the wrong pick if it comes to get an idea of TAU FACTOR’s sound, which is more dedicated to the works of some 90ies classic acts like FLA or LEAETHER STRIP. Business as usual for the French madman Vince Pujol and his E.S.R. project – again a new and unreleased remix work, here on "Humanity Collapsing", which is originally available on his last and 4th studio album "Scars And Wounds". I still have to wash my ears regarding the fact that he likes to imply here and there the efforts of a real guitarist – and this track was one out of three on the last album which offered this – but that unique kind how Vince is able to deal and to mix this efforts, has satisfied the eternal nagger in me, this counts for the original as well as for this remix.
The duo of DERMA-TEK follows then and turns the music into the Harsh EBM genre - as expected – but this unreleased remix on "Payback" provided by the upcoming talent THE PANIC LIFT is a fucking great stomper which kicks ass! That DERMA-TEK, leaded by Joe Cains and Miranda St. Croix, is currently hard at work on the international break-through thanks to a license deal with the German NoiTekk label rather seems to awake one part of the above mentioned windmill-syndrome for the DSBP. Of course, this is a business thing and nobody can seriously blame the band for receiving this exposure and request – but we’ll see who will suffer from this at least. Tommy T.’s project DIVERJE has surely become through the years a kind of flagship of the DSBP label - and not because it is Tommy’s project in which he likes to invest some more efforts. He has spent efforts into various live gigs by opening for some global players and thanks to the outraging and intense stage action, DIVERJE could hit the better known acts. There seems to be currently a good call for DIVERJE and the now ready done new album "Stitched" shall prove this – let’s hope for higher sales and countless live actions. The title track of the coming album "Stitched" is featured here in an unreleased remix version provided by the to me unknown act OBSCURE DESCENSION. Follows then an unreleased remix provided by R010R of the NOISE PROCESS track "Interruption", in its original version for sure one of the best tracks available on the NP album "Groundzer0" released in March 2K7. R010R is the solo effort of NP front man Michael Renfield and I had recently the honor to check out intense his upcoming work "Gradual Destabilization" – important to know, since this documents that Michael has worked without his NP partner Tim Garelick on this remix. As for this remix I still enjoy that "not-so-linear" drum programming (...seems to be a R010R trademark...) and the whistling noises well integrated in the mix, while I tend to nag against the manipulation of the almost robot-like vocals – some more "aggression" would sound better. We then reach the kingdom of BIOPSY. This side-project of the Brazilian AGHAST VIEW guys has received already in the early DSBP years a kind of cult status and this fucked-up cover version on DEPECHE MODE’s "Barrel Of A Gun" is a showcase for their outstanding talent. DM-meets-SWAMP TERRORISTS-meets-Electro-Trash – it rawks!!! Fab And Denis, please return with both projects, AV and BIOPSY!!!
Dee Madden and his PENAL COLONY project is a relict out of the Coldwave scene and for some reasons a bit underrated as well. His track got remixed by the well-known Metropolis-recording artists SYSTEM SYN, who like to turn this piece into a catchy and danceable Futurepop track – decent done, a good well-known name providing this remix, but at least not very representative for the usual style of PENAL COLONY. ANDRACULOID returns here as well after a longer pause and that was about time. "Lifeless Eyes (Bloodshot Version)" is a completely new track and turns very near to a Dark Electro/Harsh EBM-related style, maybe one of the melodic works of this act so far. One of the highlights of this comp for sure, let’s look curiously forward to the coming new album hopefully out in autumn. New Zealand’s best known artist THE MERCY CAGE offer once again a remix on their successful track "Prozac, God And The Atomic Bomb" – good stuff as usual, but we’re awaiting new compositions. TESTUBE represents the intelligent side of the DSBP roster and can be called a veteran act for this label – Jeff Danos has already contributed tracks under different monikers and collaborated with Tommy in the early years. The mixture of modern Electronica, Trance and IDM styles is always exciting to check out – let’s hope for a new release soon. Sweden’s Synthpop duo AUTO AUTO is present here as well by offering the TECHEN remix of their track "Dog" – I would like to hear them here with a different and unreleased composition, since this track is taken from the US- (DSBP-) edition of their past full-length album "Sounds Of A New Generator". The Spanish solo project ASSEPTIC ROOM offers a previously unreleased remix of "Gates Of Death" constructed by the Argentinean project ALIEN PROJECT – rhythm programming and used sounds are that typically integrated, I would recognize the AP signature while sleeping, ha! Finally you’ll got the appearance of REIN[FORCED] providing with "Hiatus" one of the best works of their past full-length album – here in an unreleased remix done by the Metropolis-recording artist TERRORFAKT. Of course, they turn this track into the harsh rhythmically Powernoise genre and not too much still reminds on REIN[FORCED]. This CD ends with a short voice sample, from which I don’t know if Mr. T. is included...:-P

Of course, this compilation is a must-have release for the DSBP addicts and a well-done introduction to the promising roster if you’re a newbie. Through all the years the roster has grown to 28 + bands, so if it should have been a completely library, an expansion to 2 CD’s would be required. At least too many bands out of the roster have meanwhile quitted all productions – names like SYMBIONT, LEXINCRYPT, BOUNDLESS, FREQUENCY CONSTRUCT or SYSTEM DER DINGE are sorely missed. That RUN LEVEL ZERO are not included to this compilation is to me a normal evolution, since they’ve nearly become a global player with a well balanced contract to the German Minuswelt label. Surprised I’m regarding the fact that TYPE001 is missed here, but the biggest surprise is the removal of the Swedish act SEVERE ILLUSION – is this a hint or a tendency after they’ve recently released a new EP via the Hungarian Advoxya Records? Well, let’s see what the future in this stable discussion holds. Same counts somehow for the existence of the record label DSBP – to survive another 10 years, well, that would be the next goal to reach...

FUTRONIK STRUCTURES vol.5
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1- BIO-MECHANICAL DEGENERATION -"hybridization"(remix)
2- ENCODER -"my enigma 2.0"
3- AGHAST VIEW -"blue stream"
4- TAU FACTOR -"motionless"(PRE-EMPTIVE STRIKE 0.1 remix)
5- ELECTRO SYNTHETIC REBELLION -"humanity collapsing"(remix)
6- DERMA-TEK -"payback"(THE PANIC LIFT remix)
7- DIVERJE -"stitched" (OBSCURE DESCENSION remix)
8- NOISE PROCESS VS. RO1OR -"interruption" (remix)
9- BIOPSY -"barrel of a gun" (DEPECHE MODE Cover)
10-PENAL COLONY -"the kids are behaviourly medicated"(SYSTEM SYN remix)
11-ANDRACULOID -"lifeless eyes"(bloodshot version) "
12-THE MERCY CAGE -"prozac, God, and the Atomic Bomb"(remix)
13-TESTUBE -"floor fodder"
14-AUTO-AUTO-"dog" (TECHEN remix)
15-ASSEPTIC ROOM -"gates of death" (ALIEN PRODUKT remix)
16-REIN[FORCED] -"hiatus" (TERRORFAKT Rein[terpretation])

The usage of vintage 80's synthesizer sounds has been making a come back by well known and new and up-coming underground artists who are inspire by legend 80's bands such as Depeche Mode, Duran Duran, New Order, Gary Numan, Thompson Twins, Visage, Ultravox, Prince, OMD, Kraftwerk, A-Ha, Eurythmics, Human League, Pet Shop Boys, Heaven 17, Erasure, Thomas Dolby, Soft Cell, Howard Jones, Naked Eyes and hundreds of others. Italy based Kluster Cold (aka Carlo Ponte) plays from his heart, but also from his soul by using the cold machines that appeals and identify a true composition art form of synth-pop and electronic. This third release also have the impression of being catchy by both ear and imagination, but most of the tracks are instrumental. A reminisce of absolute old school 80's music. An album that's twenty-eight minutes long that delivers and provides such an effective sense lowering the lights that you can feel the thump of the beat from the speakers while
sitting at the table or dancing on the dancefloor. "Remember" and "Dystonia Flower" is a very nice romantic piece. The potential in "The Romance Of Tar" have a tradition of a vocoder sounded like a robot. And "As Fear Comes Back" feature a female on vocals. Classic synths haunts from the shadows, but incredible to express one's innermost feelings and thoughts.

In balance between synthpop and techno pop, Techno Squirrels (the duo formed by Lisa Eriksson and Ryan Harlin) are presenting their first full length titled PLASTIC MAKES IT POSSIBLE. Containing eleven new tunes plus two remixes (none of these tracks are coming from their previous two E.P.s) the album gives us an opportunity to check the Techno Squirrels music in full. As for their previous releases what pop up immediately to a first listening is their ability to mix pop and dance attitude (on one of my previous reviews I named Madonna's "Ray of light" and I must say that I have to confirm that impression and I'd add also another Madonna's tune: "Beautiful stranger") giving to the tracks a remix feeling which is a double edged weapon because it could be a good chance to show one's producing ability but it could also ruin the spontaneity of the pop tune. On tracks like "What you want" the duo play with the ambient dance atmospheres a la Bjork (and Lisa's vocal ability is good at this like at other styles) touching the other edge without being cut. The album span through electronic ballads like "Love comes first", "Everything" or "Lightbulb" to electro dance tune like "Hurt me" or "South Colorado". If you love dance atmospheres but you also are into mainstream pop the Techno Squirrels could be a good alternative.

A weird cd for the average target of this webzine, but it's 2007 we're a bunch of good folks and we can take almost everything even if that doesn't imply you've to submerge our mailboxes of releases... honestly it's already too hard. This one is one of those releases sung in italian language with an unconventional "poppy" attitude, probably nothing intentionally mainstremam but Deadburger has all those characteristics that could push the band between the new italian indie sensation like it happened with Offlaga Disco Pax, Bluevertigo or Bugo. Being a "weird" (nor fish nor flash somehow) release, with that bit of irony and with electronics it also made me think to that masterpiece titled "Il cucchiaio infernale" that a while ago had shown the incredible talent of R.U.N.I (believe me, if this world was really round these guy with a record like that should have become rich). The first approach with "c'è ancora vita su marte" was so and so, but this an ok cd, I've been too quick to judge, infact this’ much smarter and more inspired than the many demential/ironic band looking for a chart-climber single. I don't think these guys have the chart-climber, but this effort is well done, well recorded and well produced, it reminded me of R.U.N.I., Devo, some Bluvertigo for the fact they all mix a bit of electronica with a indie-melodic-whatever-rock attitude. If it was still the end of Y2K this could have been on Consorzio Produttori Indipendenti for the fact it now follows the footsteps becoming the modern answer to Utsmamò and above all to Acid Folk Alleanza but also something of Cccp. Not my cup of tea but with some good points.

Two words to describe this album: hell yeah! First off, the packaging for this record is very nice. Heavy black packaging and deep maroon vinyl cut for 45 speed on one side and 33 on the other. This is surprisingly good glitchy synthpop - nice droning atmospheres and heavily processed guitar mixed with subdued vocals. The glitchiness is not full on like Venetian Snares - if that’s what you’re looking for you’ll be disappointed. Ova Looven uses glitch as punctuation. The first time I heard it, I thought that the record had skipped. It is sometimes difficult to make out what the singer is saying, but I don’t think it matters much. It almost seems like the vocals are just another way to create the atmosphere. And atmosphere is what this album is all about. The tracks blend into each other to create a sense of unity. For those of us who like comparisons, here goes: take the tone of "Black Celebration"-era Depeche Mode, the heavily reverbed guitars of old Durutti Column and Cocteau Twins, add a dash of Frazier Chorus Brit-pop and a bit of glitch and you have Ova Looven. I would highly recommend this. Only one track wasn’t outstanding – "Fields of Lucid Trees" was a bit repetitive and not as interesting as the previous tracks, but that’s probably only because the other ones were so great. It’s limited to 500 copies, so drop them an email.