I received a couple of CD from a new Finland label called Nano. Both the singles are from Flux but they seem produced by two different bands. The first single is ELECTRIC WOMAN: the main song is a tune that reminds me of the latest Karl Bartos tracks and the Tuohimaa and Markis L. remixes add to it a certain electro dance flavor without changing it too much. They added some rhythms plus some syth lines just to enhance the catchy factor. The original "Lo Fi" version is twice longer respect the video edit version (and on the extra section of the CD you can find also the video) but the sound doesn’t differs that much from the short one. Closes the E.P. an instrumental track, "Pulsar – tseburex special", a nice track that seems coming from a Japanese space base. The second single is PROTECTED: it contains only two songs ("Protected" and "No more than alive") plus a remix of the main track. On this single Flux changed totally and thanks to a new female singer (on "Electric woman" we had a robotic male vocal) we have a couple of sophisticated electropop dancey tunes really convincing. The lovers of early Client for sure will dig "No more than alive" with its analogue sounds (something similar to the first Depeche album) and the sensual female vocals. I don’t know nothing about the band but I liked these songs. Keep an eye on them...

As I embark on the difficult task of attempting to review the latest CD by the Boston-based duo Hansel, I embrace my fate: I'll get flamed no matter what! The duo obviously have some serious gripe with the media who attempt to pigeonhole them into one boxed description or the promoters who try to file them under one category. So if I get the description somewhat right or accurate according to the fellow writers and reviewers, which of course could be argued is fairly relative anyway, I'll probably get shit from the band; and if I tell you that Hansel is a rock band (which is how they describe themselves to avoid any confusion) then I'll definitely get shit from the readers (since anybody that heard this record knows that Hansel doesn't share anything more than attitude and occasional distorted guitars with what you usually refer to as rock). Hansel is a little stressed out by the situation that came into being, and you can tell from their press release and some lyrics or samples in their record. So I could comply with their desire to not be labeled, hence doing a disservice to my readers and possibly getting a few very curious readers to go and actually listen to the music online to make up their own mind (but then they'll probably illegally download the album and then the band AND the label will hate me anyway) or I can just fuck all of that political correctness bullshit and mess with my destiny by giving a shot at trying to describe a band that's actually hard to describe or file under just one category or genre in the first place. Ultimately, I don't give a shit about getting shit, so what I'll do is I won't make any comparisons and I'll just try go give you a rough idea of what they sound like.First of all, if you are familiar with D-Trash records, think of Hansel as your non-typical D-Trash band. They implement elements of electronic music, industrial music, rhythm-noise, breakcore, glitch, rock, hop hop and what not (shall we say experimental electro-glitch-core crossover? or just e-ndustrial noise-core rock hop? just messing with you...). No matter what, it is going to be hard to give you an accurate picture of Hansel because they jump back and forth from any of the above to any other one of the above genres. This said, certain things that are actually facts could help you pin point (sort of) where Hansel stands: although they are not committed to them, they do use computers and electronics; most rhythmical/percussive material as well as most vocals are distorted; their sounds are sparse and simple at the source, but highly tweaked and saturated in complex ways; their sonic attack is minimal but aggressive and raw; they are genuine and spontaneous; they are very eclectic and across the board. If that doesn't get you any further you'll really have to go to the label's website and find out for yourself.In the meantime we want to tell the band that Chain D.L.K. loves them no matter what and we don't give a flying fuck about what the other media says about them (I haven't read a single other review of their music to try and find aid or inspiration or to try and align my views with those of others - why would I anyway?), nor do we have any expectations from them or anybody else, for that matter. I agree with Hansel that artists should just make music and let nothing other than their own creativity mold the music they write. That said, sometimes shit sucks, sometimes shit rocks, it's all subjective in the end anyway, and so are reviews (so bands shouldn't really give a damn about what people say anyway).This said I wanna hear that triple Dolly Parton cover album now!PS I don't think I ever filed any review I wrote in as many categories at the same time!

As this promotional copy arrived me, I opened the envelope and had a look to the band name, which I couldn’t sort in. Before reading the info sheet, I opened then the jewel case and could read: "All tracks written by Armin Johnert". Armin "Jeff" Johnert – well, that was a DJ legend at Frankfurt airport, the legendary "Dorian Gray" club. Those were the times at 1988-1990, where EBM/Electro/Industrial music had its heydays. Thanks to his constant good work as a DJ next to Talla 2XLC and as an editor of the legendary "Frontpage" magazine he has had a non-forgettable influence on the recognition and acceptance of this kind of music. Not to forget his guest vocal appearances on BIGOD 20’s full-length debut "Steel Works", which is still a classic out of the glorious Zoth Ommog days. That he also was musically active before starting to present EBM/Electro music to the frenetic masses at Dorian Gray, well – this episode I’ve passed. With the additional musicians Stephan Schoenrock (bass & synths) and Mark Walter (drums & background vocals) and based in Göttingen, Germany, they had recorded a hot-selling demo tape and they could record this album "And Then We Danced", produced by the way by the well-known German hit singer Matthias Reim ("Verdammt ich lieb Dich" – years later an undying No. 1-hit). However, this album got never released officially. Why now, someone could ask. Maybe it only belongs to the fact that these recordings are now 20 years old, for sure an anniversary. Musically this trio gives us Pop/Wave inspired music, some would call this Guitar-driven Independent music. I’m surprised by the vocal acrobatic Armin is capable to offer, he can really sing and jumps easily between octaves. Somehow this music still sounds refreshing, also 20 years later. This maybe belongs, that this kind of music can be called timeless. In times of fast, consumer-friendly and computer-generated music, this album marks an effective alternative. It will not reach higher Media Control chart positions – this may would happen if this album would have been released 20 years before, but nowadays...? However, Armin is working hard to re-animate this project and a new studio album should ready for a release in spring 2K7. Good luck and welcome back!

With a first look only on the cover art you may expect a kind of Techno/Trance-based music effort, and indeed – these elements can be discovered here besides some others. This is the debut full-length CD of Alex K and Newt, who are hiding behind this moniker and they offer as an interesting mixture of the above mentioned styles combined with some IDM/Electronica influences, Futurepop and a slight excursion into Electro-Clash music. So you’ll get a fine and detailed arranged album which will easily push your body to the dancefloors. With the track "Someone Like Me" they also have a piece on board which features real male vocals (though well manipulated with some vocoder effects...) and a real compositional background. Several "spoken word" inputs done by Krista Dragomer can be heard on 4 different tracks. This release also attracts attention because it has several collaborations and remix works available. With FRONT 242 working on "Someone Like Me" they could indeed win one of the biggest players internationally, also the Danish act NEOTEK has a good name in the Electro/EBM/Industrial scene. But it should be mentioned that both their remix works don’t push the sound of DIGITAL GEIST any nearer to EBM or Electro/Industrial music – they swim with the stream. Favorites next to "Someone Like Me" can be named with "Earworm (No Light Guides Us)" (what a fine synth layer work!) and the dry Techno-styled "Keep The Faith (featuring Christian K. of DHARMA LAB)". There’s a lot of talent and real effort behind this album and if you dig some of the above mentioned styles, you would be surprised by the diversity this release has to offer.

Ahab Rex's minimalistic electro-rock bounces back and forth from being a noir songwriter's most intimate and convoluted creation to showing the aggressive energy and raw sonic attack of an entire band. Unapologetic naked lyrics sung out with the conviction and the soul of one of the last of the spoken-word urban poets. If you tend to prefer the focus being shifted on words you'll appreciate the vocal characteristics of this young talented and very personal singer, who, without sounding like a clone will make you think, for one reason or another, about David Bowie, Tom Waits, Trent Reznor, Leonard Cohen, Nick Cave etc... And if you are longing for big names, the collaboration on Ahab Rex's debut full length CD should make you seriously think about checking them out: drummer Martin Atkins (NIN, Killing Joke, Pigface), singer Chris Connelly (Ministry, Revolting Cocks), Steven Seibold (Hate Dept), Dylan Ryan, Pigface and Assassins (who both remixed one song on this record), The Countdown, Griffin Rodriguez (him) and engineer Adam Yoffe (Big Buildings) all lend a helping hand for an album that does sound mature and ready for a much bigger audience.As a music producer, this is the kind of band I'd be seeking out to work with and the kind of band where I'd wonder why they are not signed, so I am glad that somebody (Lens records) noticed them and is (hopefully) providing them with good promotion and distribution. I don't think I need to stress any further that this m+f duo knows what they are doing and are determined and set out to be noticed.