This is the second official release of the London-based Powernoise/IDM label Infekted Sound, which has released before a compilation called "Rhythm For Decay", featuring some well known acts among others FLINT GLASS or ISZOLOSCOPE. When I received this CD and had a look to the cover art I expected at first to receive a kind of meditation release, he-he – but NO WAY! This solo effort by Chris McCall provides an almost fast paced hybrid of Powernoise, IDM, Glitch and Electronica compressed here in 9 original tracks and two remix works done by his label comrades of DYSPRAXIA and EVA/3. The chosen title can be understood as an order to keep your body in motion and it couldn’t chosen better. This is really hardcore stuff and surely not designed for the heart-fainted. Chris understands it well to keep all his elements well into the mix and here can be discovered some fine tune like the rotating and harsh designed Powernoise "Overdrive" or "Organized Sounds" and "Rollright (Far)" which both feature besides all rhythmically distortion some ominous synth layers. This release is harsh, noisy, disturbing, it features diversity with the integration of the mentioned styles, it’s addictive danceable without falling into that harsh EBM style mixed with Powernoise beats cliche – in short: you can’t ask for more. A marvelous output which can become a favorite for the genre fans. Also the fact that this release received the final mastering through the skillful hands of John Sellekaers in his well known Metarc studios proves the professionality behind this output. Well done, good work, keep it on.

Limited to only 1000 copies, SURFACE TENSIONS is the third release by Surface 10. While the previous two were containing tracks composed and reworked during the 1994-99 period, this new one contains tracks that have been composed within 1997 and 2006. Dean De Benedictis, the person behind Surface 10, describes the music of this album "techno-tragic sound". The eleven tracks of the album have been composed by Dean with the help of Eddie Loyola (aka Niture) and members of the Fateless Flows Collective. Musically the tracks have a strong electronic background that sound like a mixture of ambient and minimal techno with some i.d.m. here and there but if you listen to it with attention you will also notice a certain jazz or fusion attitude (see "X tension" for example) of the melodies used on some tracks. This is the interesting thing about Surface 10 music: the multi layered structure of the tracks contains so many melodies and rhythms that even if the whole effect sounds like ambient trance music, you’ll be amazed by the richness of the sound. This denote a will to experiment with sounds and solutions that I really appreciated and even if the approach to sound is really minimal you could let yourself lose into the ambience created finding something new that goes beyond the usual ambient music.

"Cryosphere", a chock-full sampler featuring 9 tracks for almost 80 minutes of music, marks the debut of Alessandro Tedeschi (Netherworld)'s new label Glacial Movements - you may have noticed that the recurring theme is ice, glaciers, vast frozen horizons etc. in the best tradition of Thomas Koener, Biosphere, etc. None of the featured tracks is less than well-done, so fans of isolationist drones will surely have much to sink their teeth into. My personal favourites were Siberian Closing the Eternity (authors of a superb 7" on Drone Records), Tho-So-Aa (mostly working on menacing low rumbles) and landlord Netherworld of course, who is brilliant and deep as always; but you can easily pick your own soundscape among those offered by Northaunt, Lightwave, Tuu, Troum, Aidan Baker and Oophoi. I wish a bright future to Tedeschi, and heartily recommend this to those even remotely interested in labels like Drone, Manifold, Mystery Sea and the likes.

If you know Carpark via its melodical droned or electronic releases read carefully 'cause this not the classic product of their catalogue. Ecstatic Sunshine is well recorded and sometimes also really brilliant but this could be easily described as a modern guitar driven indie-rock record without drums. The funny thing is that this’ really far from being an acoustic or a slow release based on ballads: most of the songs have a pounding rhythm and the song structure give space to many accelerations. The music is rather relaxing but sincerely in most of the cases I've had the impression I was listening to some well recorded rehearsal tape or even worse to some Jad Fair solo release without the sick genius of the ex Half Japanese member. Imagining a solid drumming embodied in this "Freakles Wars" and it could bring to mind a sort of mix between softest Don Caballero ("What burns never returns"), American Football/Joan of Arc, indiest Sonic Youth and perhaps Modest Mouse. Sure this’ by some means unconventional in its guitar-only essence, it could also be the new episode of the Subsonic series of Sub Rosa if you remember it, but unfortunately it's not. Not bad, but you'd better give it a listen before buying it.

This album was recorded between 2000 and 2004, when TIF was just a solo project by Andrew David Daly (Garreth Dickson joined in 2004). Crackling processed piano, small clusters of unrecognizable instruments, reverse damaged guitar debris and a subtle sense of melody are the main ingredients for this album. The second track is called 'The Jig' and features an unprocessed acoustic guitar plucking which is now and then penetrated by glitchy loops. 'Honey and Bees' is my personal favourite here, adding some catchy female vocals to different layers of gentle backwards sounds. Can't really wait to see where things will go from here.