[ aquarius records — Electronic ]

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Showing results 1101 through 1150 of 5033.

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Incredibly cheesy and fun comp out of Munich that gleefully covers all sorts of '80s and '90s hits using Commodore 64 Atari gamesounds as its only instrument. Now this is what I *wish* I could have listened to while playing Frogger back in the day. 8-bit hilarity, in the form of "Always on My Mind", "Blue Monday", "Enola Gay", "Venus", "Mission Impossible", "Smells Like Teen Spirit", "Chariots of Fire", "Sheena is a Punk Rocker", the theme to Beverly Hills Cop, etc. This is the first time on disc for this previously LP-only release, and the disc has several bonus tracks that aren't on the vinyl. Comes in a clear jewel case, no cover art; the disc itself bears the info and looks good. A novelty purchase, for sure, but lots of fun.

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RSI is another UK label trafficking in difficult and totally original electronic music (like countrymates Fflint Central). It's a shame that they only make cd-rs. I find it hard to believe they wouldn't be able to sell 1000 cds, but it hardly makes a The beginning of the opening track is a bit misleading, with what sounds like the gentle shimmering of Tibetan bells, but they slowly distort until POW! A crunching ear-shredding sort-of-electro/sort-of-jungle MONSTER BEAT kicks in. And while within these 5 tracks, DOS takes the occasional breather, with bleeping and blipping, squiggly electronic squeals and tranquil burbling, it's all about the beat, which resurfaces a couple more times to pound your skull and rattle the rafters.

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**SALE **SALE* *SALE**

We introduced you to RSI a while ago, another UK label trafficking in difficult and totally original electronic music (like countrymates Fflint Central). And we were lamenting the fact that all these cool labels were only making cd-rs. Well, finally here

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Yet another killer discovery from our pals at Medical Records, a lost synthpop / electropop gem from the duo Disco Volante, who existed briefly in the early eighties, and only ever released this one 7" in 1984, a dark and driving slab of DIY, lo-fi new wave pop, all skittery drum machines, pulsating synths, and snarly vox, the A side "No Motion" was definitely their coulda-been-a-hit, with a strange chorus, laced with cascading synths and swirling processed voices, the B-side "Click" is all dark pulsing synth buzz, wreathed in sound effects, laced with playful melodies, a loping rhythmic groove, and another twisted, not-exactly catchy chorus, but one that sticks in your head nonetheless. Longtime readers of the aQ list might find themselves reminded of the Jones Machine, which is NEVER a bad thing. The extra live track on the B-side displays the group in their element, rocking some dark club, and sounding way more punk, the synth (or is that a guitar?), super distorted, the drum machine pounding away, the vocals wreathed in echo and reverb, and delivered even more stridently, in the background the carnivalesque synth swirls adding a definite psychedelic vibe, not to mention the FX drenched swirling synth freakout finale. Killer stuff! And finally widely available, for the first time essentially, after years of circulating as a low quality download and occasionally popping up as an outrageously priced eBay rarity. Get one before they're gone. Again. Housed in a super heavy, full color sleeve, pressed on super thick black vinyl and LIMITED TO 500 COPIES. Each one hand numbered.

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SORRY. UK import. "For some people, stacking boxes into crates is a career; working their way up from stacking boxes to watch other people stacking them. Not all boxes are square, though most are."

Disjecta is the electronic alter-ego of Mark Clifford, who is best known as the glide guitar sculptor from Seefeel back in the early '90s. As Disjecta he has attempted to bridge the gap between the dreamy, electronically tinged shoegazerism of Seefeel and the emotionally sympathetic sounds of IDM electronica. On this short EP which marks his first recordings in five or six years, Clifford dabbles in similar procedures as Stefan Mathieu and Oval by enshrouding samples of organ and guitar in the finely crushed mist of Max/MSP pixellation. In augmenting many of these sounds with cascades of delay patterns, the resulting abstractions come across as rougher mixes of Keith Fullerton Whitman's epic Playthroughs album. Pretty nice, if no Clean Pit & Lid.

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Not an actual orchestra, but yet another creative persona for Mr. Uwe Schmidt (aka Atom Heart, Atom�, Senor Coconut, et al.). Plunderphonics are alive and kicking shins as Disk Orchestra takes absolutely anything in its path and renders them completely

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Wow, what a change of direction for this long underrated electronic music maker. While past outings by Diskjokke were great examples of left-field beat driven techno, this outing finds Diskjokke exploring totally different territory. Commissioned by Norway's Oye's Festival, he packed his bags and headed to Indonesia to collaborate with Gamalan musicians and make not only the most ambitious record of his career, but his most satisfying and rewarding. It would have been more expected and easy for Diskjokke to use the more rhythmic and percussive elements of Gamelan to make electro-dance-gamelan jams. But he didn't go the expected route, instead he flipped his entire music making past upside down, trading beats for drones and dance floors for bliss out sessions. There is a patience, subtly and warmth in these sounds that has made it one of our favorite languid explorations of the year. Such an awesome surprise!

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Active, uptempo instrumental electronica action outta Sweden on the Smalltown Supersound label (home to the likes of Hans-Peter Lindstrom and Bjorn Torske). It starts off with some pretty piano, but soon breaks into the bouncy, percolating danceparty stuff. Diskjokke mixes it up nicely, never getting too stuck in one set of sounds... "The Dinner That Never Happened" could be a chill-out echo of the Star Wars Death Star music, while elsewhere some possibly African drumming gets mixed in with the squelchin' distorted beats. The disc also takes some purely atmospheric detours as well. Geographically, they're from the land of skweee, and Diskjokke have some of that funky skweee playfulness, but this is not quite skweee, being more techno, but close.

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Disorder is the collaboration between AQ-fave German electronica artist Panacea and his friend/alter-ego? Problem Child. More mutated drum and bass. Super distorted and noisey, just how you like it.

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After a couple years of seeming hibernation (or incubation?), IDM and Drum'n'Bass appear to be flourishing again with a whole bunch of new artists. Take for instance last week's aQ pick of the week Boxcutter (who blend IDM with dubstep) and this album from the Bay Area's Disparition. These folks are crafting some dark and heady electronic music. We're curious if mainman Jon Bernstein's decision to name his debut Permutations was inspired by the likes of Praxis and Amon Tobin -- the former (aka Bill Laswell with Buckethead) have an album by the same title, and the latter released an album titled Permutation back in 1998. Another rather appropriate point of reference might be Twilight Circus Dub Soundsystem, but considerably less densely packed and more vaporous. Cool.

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What's not to love about this debut from Disrupt (not to be confused with the metal Disrupt) aka Jan Gleichmar, a dizzying mix of early reggae dancehall, low slung dubstep, haunting cinematic moodiness and lots of 8bit Atari and Casio sounds? Nothing is the obvious answer. On the surface, Foundation Bit is just another killer slab of electronic dub, with snares reverbed to infinity, the guitars wound tight, the rhythm loping and laid back, but closer listening reveals all sorts of strange stuff going on. The opening track, "Tubby Rom Module", is rife with ominous low end swells, mysterious minor key melodies, and subtle slivers of epic dramatic ambience. "Blast You To Bits" is peppered with Atari (or maybe Commodre 64) bleeps and bloops, snippets of computer nerd dialogue (from Tron!), "The Stars My Destination" is a dark laid back dubbed out joint, with the snares ricocheting all over the place and everything doused in alien effects. The closer, "Selassi / Continually" is a slithery groove, with fuzzy organs, and a thick guitar refrain wrapped in FX and stretched out over stuttering snares, and a classic loping reggae rhythm and some unexpected robot vocals. The weirdness is subtle, but definitely omnipresent, same with all the lo-fi 8bit filigree, which only serves to make Foundation Bit just a cool, weird, enthralling dub record and keeping it from turning into something goofy and gimmicky. Subtle enough that dubheads will still dig, but just fucked enough to keep us listening... We dig A LOT!

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We've long been complaining about the dearth of "grime" in the States, so we were psyched to discover that the folks at Planet Mu decided to do something about it. They've been re-issuing UK grime releases for the states, but this latest batch of 12"s offers up some grime / jungle hybrids as well as their own twisted take on dubstep and grime. And it kills! Distance is a big name in the dubstep/grime scene finally seeing some action stateside. This is weird and abstract, definitely dubstep but with heavy metal riffs, distorted beats spaced waaaaay out, ravey synth melodies, but mostly relentless and almost rocking. Sounds a bit like a grime Circle if you can imagine that. The flipside is even more minimal and stripped down, into a late night slow motion groove, so just begging for Virus Syndicate or Lady Sovereign to drop in and start flowing madly over the top.

As you might have figured out over the last few lists, we're on a bit of a techno kick lately. There's so much far out, droning and expansive mind melting motorik music coming out at the moment that we're just chomping at the bit to share it with the world, and you, our dear aQ readers. This record by Detroit's Terrence Dixon might just take the cake though, as far as deep and dark discoveries go. Dixon, who is no doubt a venerated vet of the Detroit techno underworld, also releasing stellar jams under the moniker Population One, here he hits us with a brooding and beautiful slab of mesmeric and futuristic machine music, the sequel to an album from twelve years ago. From The Far Future Pt. 2 is techno at its most tunnel dwelling. Hazed out sheets of analog texture fogging out the subterranean sprawl, demented synth sirens floating over hypnotic pulsations, detuned and moody sonic scraping, caustic dronings and bits of grimy sonic filigree oozing through the murk. "Dark City Of Hope (Main Mix)", is a narcotic entrancing drift. Buzzing textures rolling like waves over the beat, noisy but harmonically lush sheets of distortion and squelching blips and pops create an aphotic sonic miasma. The mood is melancholic and late night, imagine an Actress remix of Basinki played at 45 in a cavernous warehouse and we're getting close to the vibe. Totally engulfing. "Horizon" is a bit more rough and tumble. A strong four on the floor giving rise to a moody and decimated loop, layers of percussion phased and out of balance, the whole thing groovy and stomping but possessing an almost seasick lilt, infectious and hypnotic hand-hewn soul. A darker and more industrialized turn is taken with "The Auto Factory", dystopian churning mechanics grind and scrape and meld into a trance inducing dream state. Underpinning the whole thing are minimal but booming bass intonations and nefarious droning buzzy synth drifts, all the while creeped out science fiction melodies shimmer ominously in the background, and the rhythm track starts to unravel in the most musical way. It's got this doomed and twisted desolation vibe captured by many a techno visionary, but somehow possesses this intuitive sense of form, allowing the jams to be caught in a beautiful sense of flux, both on and off the grid simultaneously. From The Far Future Part 2 is a thoroughly captivating techno record, droning, hypnotically rhythmic, and densely textured. For fans of Actress, record of the weeker Silent Servant, and the analogue synth darkness of Geoff Barrow and Ben Salisbury's Drokk, this is an absolute MUST HAVE! Total vibey darkly future gazing techno bliss! RECOMMENDED!

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Nicolas Baudoux, aka DJ Elephant Power, dices up soniggly elephants and glitchy blippy percussion that's abstract and cusioned by a jazzy Rhodes-piano and filtered Moog-sequences. Pretty laid-back and meandering, musical themes are introduced and put aside to be hinted at unexpectedly later on. Slightly krauty and somewhat funky, DJ EP's No Si, Ni So is super fun - imagine a little kid riding the rollercoaster of his dreams with a neverending ice cream cone. Weeeeeeeeee!

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You know DJ Frenchbloke from that "Best Bootlegs" comp -- he spliced together Destiny's Child "Jumping Jumping" with the Dead Kennedys' "California Uber Alles" to amazing perfection. Well, here's a whole lp's worth, though nothing here matches the catchiness and shock value of combining those polar opposite cultural icons, save for maybe Kraftwerk and Tag Team's "Whoop De France" (!) So in an attempt to decipher all originating sources of the rest of the tracks, here goes: Miss Jane's "It's A Fine Day" takes an acid trip (via Opus 3?). Perry & Kingsley get sticky with Sisqo's "Thong Song". Destiny's Child goes gabba courtesy of Chicks On Speed's "Turn Of The Century". Britney, Spongebob Squarepants, Anthony Roter's Little Computer People, "Ring Of Fire", and many others get worked as well. Fun for a few listens and laughs, surely an important novelty item, DJs should spin it for a minute, but ultimately not living up to all the hype.

Oh man, have we been waiting for this!! Scud is the master of dirty, noisy, fuck-shit-up, big beat hardcore dancehall/digital hardcore/gabber. And his label Ambush has been the place to look for forward thinking, speaker shredding, ass kicking electronic mayhem. Grungy and lo-fi and totally addictive. Funky enough to make you want to dance your ass off, but hard enough to make you want to beat the crap out of EVERYBODY! From the old school, two-step drum-and-bass-recorded-on-a-four-track of V.I.P Pressure Pt. 1 to the pounding, super distorted dancehall jungle of Kill Or Be Killed to the ghetto blaster dance party drum and bass of Jungle Warrior to the freaked out Lesser meets Panacea noise clash of New World. This is the only shit that matters anymore. Vibrant and exciting, fucked up and totally pummelling. Puts Alec Empire's by-the-numbers digital hardcore to shame. Major complaint: Nine tracks?!?!? C'mon. There's at least five or six 12"s and three or four 7"s that are just begging to be collected all in one place. Why choose nine songs from random comps when there could've been a wicked double or triple complete Ambush collection?!?! Bitching aside, this is THE SHIT! MPEG Download: "Kill Or Be Killed" [/audio/scudkill.mp3] MPEG Stream: "Kill Or Be Killed" [/audio/scudkill.m3u]

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Newest Ambush jungle/dancehall assault. This one's a split between Ambush head honcho Scud and Rich Kid (AKA Panacea). It's less ragga / dancehall and more noise and mayhem and insane drill and bass. Really cool and heavy and crazy, but left us yearning for

The incredible DJ Scud (aka Toby Reynolds, Bloodclaat Gangsta Youth, head honcho of Ambush Records) steps into the ring to take on the Rich Kid (aka Kate Mosh, M2, Bad Street Boy, best known as German dancefloor militiamensch PANACEA). Murder Sound sees these

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"Six Days" is that really cool song from DJ Shadow's Private Press album, the song with the Shirley-Bassey-voiced woman singing "Tomorrow never comes until it's too late..." Here's the single. We got four tracks: an excellent remix featuring Mos Def, an instrumental version, a non-album track "100 Metre Dash", and a radio edit. Also featured is the "Six Days" video which you can play on your computer, and which was directed by WONG KAR WAI and stars Chang Chen the wild young guy from Crouching Tiger. Pretty average video, the only thing pushing it over the top being cinematographer Chris Doyle's stunning photography that fans of Wong Kar Wai's films swoon over.

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Er...let's see, the press for this says: "A typically retarded new EP split between two of underground San Francisco's favorite treats". Favorite treats we suppose if you're into the most annoying Load-label stuff too, but we won't argue with retarded. But that doesn't mean we're saying you won't like this -- the market for primitive beats, synth abuse, and noisy silly punk-dance chaos is a burgeoning one after all. And there's some local celebs involved in these two acts as well: DJ Shitbird consists of members of Comets On Fire, the Lowdown, Crack W.A.R., Big Techno Werewolves, and Lil Pocketknife, while Revenge consists of the infamous John Dwyer (Coachwhips, Pink & Brown, Zeigenbock Koph, OCS...) and a dude from the Numbers. It seems that Narnack ain't signing up anything, even for a split, without scenester cred galore. Both bands are equally goofy, with Revenge being noisier and DJ Shitbird cuter (but more cringe-inducing), I suppose. Check out the sound clips to see if they get your booty moving or just make you gag...

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SORRY. We've been meaning to list this for a while now, but we kept selling out of it, over and over, we could barely keep it in stock, and for good reason, as far as modern mixers and DJ's go, DJ /Rupture is one of our faves, so when he offers up a mix heavy on the dubstep, you know it's gonna rule, and rule it does. Bunch of new names, some old ones too, some surprises as well, here's who we know: Scuba, Timeblind, Shackleton, Ghislain Poirier, We, Lloop, Ekkehard Ehlers, and here's who we don't: Baby Kites And Nokea, Clouds, Istari Lasterfahrer, Maga Bo, ATK12, Ekstrak, Frescoe, Iron Shirt, Jenny Jones, Stalker, Filastine, Brent Arnold, Quest, Moving Ninja, Dead Leaf and Prefessor Shehab. But heck, it hardly matters what songs and which artists, if Rupture picks 'em you know they're good (this man must have a mindblowing record collection), and then all mixed up they're transformed into a constantly shifting dubbed out bass heavy groove that goes on and on and on. Lots of thick fuzzed out synth bass, various permutations of THAT dubstep beat, some toasting here and there, Ehlers offers up some swoonsome strings, there's some Eastern skitter, some chopped up and stuttery techno, a little ragga, some murky mumbly doom-step, a bit of dreamy downtempo drift, some slow motion old school jungle, but it's all held together by a dubstep framework, so no matter what tripped out tangent the mix takes, it always finds its way back to the dub. Killer mix as always, and as with most Rupture stuff, WAY recommended.

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It's been ages since we last heard from DMX Krew, it was probably on some comp way back in the day, or maybe one of their nineties Rephlex full lengths. We're happy to report very little has changed, as local label Voltaire offers up this ep of old school electrofunk/synthpop, all skittery beats, and vocodered vocals, fuzzy eighties synth stabs, total day-glo / neon beats for retro dancefloor revivalists, from the two takes on the title track, one blown out and frenetically funky, the other more laid back and groovy, to the "Rockit" style synthpop electro of "Surf Squad", and from the late night synth funk of "Turing Test", to the cheesy eighties VHS dance party robofunk jitter of "No More Bad Dreams". Although stick around for the final jam "Mind Bombs", which sounds like it's sourced from the same old school party rockers that M83 models his sound after, but where M83 gussies it up and modernizes it a bit, adding shoegaze blissout and some modern gloss, DMX Krew keeps it true and offers up a groovy funky slab of super hypnotic booty shaking electro pop, that sounds like it's playing underneath the credits of some lost eighties video jam like BMX Bandits or Gleaming The Cube, all dreamy female vox, blurts of low end synths and squelchy rhythms. Totally sweet!

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Those of you who missed out on the most recent DNTEL full length should really be kicking yourselves. Or at least trying to remedy the situation by running out and picking it up pronto. Probably the most fully realised melding of bittersweet perfect pop and buzzing, staticky, glitchy electronica. This single features a handful of different versions (including the original) of what most of us consider to be the best track, with AQ faves Death Cab For Cutie's Benjamin Gibbard providing the lyrics and vocals. A totally heartbreaking, slice of wistful, whiny-boy-pining-for-unattainable-girl, emo pop, but slathered in a thick coat of hissing static and stuttering gzzzzzzzzzt. Just gorgeous. This single, while a fine introduction for those of you I was admonishing at the beginning of the review, is actually quite worth the ten bucks for those of you who have the full length too, 'cause God knows, how could you ever have enough of this song?!?!? The track that makes this the keeper is definitely the mix by Barbara Morgenstern. She keeps much of the original intact, maybe adding some extra space, but sings the first verse herself, later joined by Gibbard in a totally sexy sad duet. So perfect. This is some serious mixtape material!!!! The other tracks are no slouches either. Safety Scissors, add their own West coast Kid606/Lesser/Kit Clayton glitchy techno vibe with deadpan vocals by Erlend Ore of Kings Of Convenience. Superpitcher turn it into a 4/4 German dancefloor classic with that instantly recognizable Kompakt sound. And AQ faves Lali Puna turn it into a swelling, dreamy electronic post rock excursion. Plus one unreleased track called 'Your Hill.' Good stuff.

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Having three such beloved creative outlets Postal Service, Figurine and Dntel at his disposal, Mr. Jimmy Tamborello's probably had to replace his door a few times with so many potential musical collaborators knocking it down. And he's chosen the absolute cream of today's crop for his highly anticipated, long overdue new Dntel album, the follow-up to 2000's Life Is Full Of Possibilities. Dumb Luck follows a similar recipe as Stephin Merritt's The Sixths project for which Mr. Magnetic Fields writes and performs the music while various pop darlings provide the vocals. It just happens to be a full collaborative effort featuring the hot poop luminaries of Conor Oberst, Grizzly Bear, Jenny Lewis, Fog, Mia Doi Todd, Lali Puna, Arthur & Yu, and Mystic Chords Of Memory. Wistful, pastoral and lovely, it's a softly faceted poptronica album that doesn't hit you over the head despite its hip, indie A-list cache. No, we think it'll grow on you with each listen as it did with us, glimmering with Tamborello's trademark fleeting pop elements, feathery electronic tickles and fond familiar voices. Mmmmmm.

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PHTHALO 12. Oh wow. I have no idea what/who this is, nor do I care. Neither do I care that this was pressed as a cd-r. Dntel has made one of the catchiest IDM-based electronica records in the last long while, bringing pop hooks full of tinkling little melodies to the digital swoop and skitter of deconstructed Amen breaks, spasmodic algorithms, and powerbooking electrocrunch. Fans of Lesser, Reload (remember them?), and Aphex Twin shouldn't pass this up. I'm serious.

Los Angeles-based Jimmy Tamborello, veteran of the SoCal emo/indie rock scene (remember Strictly Ballroom? Further? The Tyde?) and current member of electro pop outfit Figurine returns after a lengthy absence with another solo record as Dntel. After two

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This drizzly afternoon we were listening to Cat Power's latest single with her cover of the Everly Brothers' "All I Have To Do Is Dream", then immediately after that we put on the first side of this new Dntel record (Jimmy Tamborello's first 'solo' release in five years -- his time's been occupied with other matters, namely a little duo known as Postal Service). The song "Rock My Boat" sung by guest vocalist Mia Doi Todd segued sooo wonderfully. It's an absolute heartmelter that you wish would linger a bit longer than its fleeting few minutes. Oh, 'tis a pleasure to hear two such amazing voices back to back. We'd highly recommend that you do the same! It totally brought back the warm fuzzy feeling you get while playing your favorite 7" records in your bedroom. The flipside is an instrumental of Tamborello's familiar gentle glitchy fare. Sweet.