Label: Force Inc. Format: 12″
The title track is something of a typical Techno Animal bass monster, with their characteristic funky breakbeats assuming the usual clattery position in relation to a rather pleasingly warbly bassline, shot through with some relatively restrained splatters of synthy knob-twiddling. As its Kevin Martin and Justin Broadrick at the controls, naturally everything tends to get taken into the extremes of dub delay and high-frequency filtering; never ones for letting an opportunity for excessive noise and repetitive loops slip past quickly, “Brotherhood Of The Bomb” is one of their better piledrivers of late, taking dynamic pleasure in warping re-folded layers of echo into, out of and under the ultimately persistent hip-hop chug.
Further headache-inducing and
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Label: Chalice Format: CD, LP
Coil have been on a long strange journey into a peculiarly English Pagan folk music, at once urban and ancient, Modern and eternal – and the recent addition of Thighpaulsandra to their collective (un)consciousness has only made things more intriguing. His main contribution to this latest mail-order only album shines through on the Ashra (or even Tangerine Dream…)-like electronic headtrip of the evocatively-titled “Red Birds Will Fly Out of the East and Destroy Paris in a Night” – a piece which shows once again the fun and frolics which can come from the use of simple drum-machine rhythms.
World weary is possibly not the description for Jhon Balance‘s vocals on this recording – more like world-curious, as he wonders “Are you
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Label: Korm Plastics Format: CD
Jonathan Coleclough has been a musical associate of such soundscrapers as Organum and Colin Potter, and Windlass is his first CD beyond a limited edition release on Robot Records. The album makes extensive use of Ambient drones to darkling effect, and has all the spectral hallmarks of the chilly wastes of post-Industrial head music.
The welling bass tones lurk in murky, but warm, depths as an ominous undertow; it’s the mid-range and trebly organ parts which contain the sinister slo-mo dread of horripilation, creeping slyly under the skin to make it crawl with building tension. A mood piece of a single forty-minute tack, Windlass fits easily into the environment, making its presence felt almost rather than heard. There are sampled (or synthetic?) bird calls, extended chimes and fizzing static, low rhythmic wavers in the bass flow and other such developments to maintain the organic
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Label: Warp Format: CD,LP
Plone are apparently intent on creating timeless electronic melodies; it seems they might have succeeded. For Beginner Piano has ten such examples to offer for posterity, and the spread of influences from John Barry to Lee Perry via the chirping bleeps of their labelmates are evident from the opening tracks “On My Bus” and “Top And Low Rent” onwards. The charming little keyboard melody and vocoder of last year’s single “Plock” slips out the bossanova moves in that retro-Futurist style whch will be one of the defining characteristics of the Nineties for future generations; likewise “Marbles” lets the group show off more of their collection of antique electronics as if they’d been commissioned to re-interpret the Easy Listening spacescapes of days gone by for the Millennium Dome.
This music sometimes resembles an organic growth fed
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