[ aquarius records — Electronic ]

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Showing results 2801 through 2850 of 5033.

Another posthumous release from Muslimgauze, "Uzbekistani Bizarre And Souk" is a caustic album of Arabic percussion contorted to fit into disjointed breakbeats and hypnotic electronic grooves. Originally released as a DAT (yes, a DAT only release!) from Staalplaat about 10 years ago, this disc also features a couple of selections from "Islamaphobia" an comes in a beautifully letter-pressed packagaing. Limited to 1000 copies.

RealAudio clip: Rouge Amin Fraction
RealAudio clip: The Iranian Who Found Allah

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SORRY. The first and latest Takeshi Muto singles ('Mud Dauber' being the second single on Schematic, now reissued) of compressed Black Dog inspired anti-funk, loaded with dark cybernetic modulations, computerized hip hop breaks, and ample digital skitter.

As we recently listed My Bloody Valentine's hard to find collection "Ecstacy and Wine" as well as their masterpiece "Loveless," it's about time that we got "Isn't Anything" into the Aquarius Records archives. I seem to remember an odd anecdote about the recording process of this album, that it was recorded somewhere in the outskirts of their native Dublin near a sheep farm and the band ended up crashing at the studio throughout the entire recording session. Yet, their sleep patterns were constantly interrupted by the incessant bleating of those sheep, and the collective insomnia contributed to the lethargy and torpor found within "Isn't Anything." Of course, I've been unable to verify this story with anything factual, but this album sure does sound sleepy, mostly sliding towards the realm of deep slumber, but occasionally hopped-up on punchy sleep-deprived nerves. In the name of revisionist history, "Isn't Anything" stands as the transition album between the gilded jangle of "Ecstacy and Wine" and the radioluminescence of "Loveless." My Bloody Valentine had begun to bury much of their emulation of '60s psychedelic pop in Sonic Youth mack-truck riffage and intertwining guitar haze that upstages the Velvet Underground strum-as-drone. Tracks like "Feed Me With Your Kiss" and "Sueisfine" thickly blur the sad lullaby vocals from Kevin Shields and Bilinda Butcher through overblown bass distortion and strangely uptempo rhythms. Yet, My Bloody Valentine will instantly glide out of these into the shoegazing drone-pop of something like "Lose My Breath" with its tone bending extended chords and lack of pronounced rhythms. Only a couple of the songs on "Isn't Anything" are as memorable as those found on "Loveless," but there are plenty of swirling dreamy-pop songs that make this album a treat for shoegazing fans!

RealAudio clip: Soft As Snow (But Warm Inside)
RealAudio clip: Lose My Breath
RealAudio clip: Feed Me With Your Kiss
RealAudio clip: Sueisfine

Okay, so I (Cup) will admit that I didn't 'get' the name of this artist for a few days. Duh! Felt like a bit of a dimwit when it had to be explained to me. Ah well. The tracks on On Milk Beast's Lullaby (am I missing some clever wordplay there too???) sound nothing like their creator's namesake. Actually they give a more ample nod to electronic kingpins such as Aphex Twin, Mu-ziq and Autechre. M.K.J.O. aka lone technician Chris Doria has crafted an engaging debut album of driving drum'n'bass tracks contrasted with plenty of somber, creeping synth melodies.

MPEG stream: You Can't Hide Your Breaks
MPEG stream: Midori Midori

Well if it's "unreleased", how can it be a "classic"? While we're still scratching our heads about the title, the music of N.O.I.A. fits comfortably within that 'classic' new wave / electro sound from the early '80s that has undergone a surprisingly durable revival over the past four or five years. So forget all the bandwagon jumpers, check out the real deal from folks who were there when the wagon rolled around the first time and this stuff was really fresh and exciting. The scant information we've found about N.O.I.A. reveals they were -- or rather, are -- an Italian synth-pop group who formed in '78 but only signed to a record label in 1983, releasing several singles in '85 but nothing much since -- until now. This album collects their earliest compositions -- all re-recorded by a reformed N.O.I.A. in 2000. Using pre-fab synths, N.O.I.A. shapes terse interlocking melodies with mechanical rhythms, ample arpeggiation, and vocoded vocals, drawing obvious comparisons to Devo, Kraftwerk, early Human League, and really early Front 242 (esp. 'No Comment' era). They're quite successful at it to boot. Try NOT to dance -- or smile -- to this stuff. Presented with pride on electro-darlings Adult.'s label, Ersatz Audio, who claim N.O.I.A. as a huge influence.

RealAudio clip: Korowa Milk Bar
RealAudio clip: Hunger In The East

A brand new full length from our favorite doom-drone / doom-gaze duo, Nadja, and it's on one of our favorite labels too, Brazil's Essence Music, who in the past have brought us incredible releases from Acid Mothers Temple, Henrik Nordvargr Bjorkk, Boris, Merzbow, and Rapoon. But this is not the regular release. We are honored to be the only place in the world, other than the label itself, to be selling the super limited, deluxe, handmade boxset version, limited to just 149 copies, already completely sold out, except for a handful saved just for us, and for you. These are pricey, but they are incredible, gorgeously and lovingly assembled, with TONS of extra stuff, and there are less than 10 copies left, so get one before they're gone. More on the record proper in a second, but we figured we'd best explain what all comes in the box, in fact first there's the box itself, hand painted and decorated using several techniques, collaged, stitched and an intricate ink layering painting process. The box is gorgeous, but inside, you'll find the standard edition of the album, lavishly assembled in a custom 6-panel digisleeve housing a set of 6 cards set with beautiful watercolor paintings and artwork by Portuguese artist L. Filipe dos Santos. PLUS, as a bonus, an alternative DOUBLE cd-r set comprising the album (same version/mastering) and a DTS 5.1 version of it - this one mastered/mixed by Anders Peterson and including an exclusive remix - housed in a 6-panel package with a striking and utterly different artwork by Iremir Oscar and Essence head honcho Uirajara Resende PLUS an inedit live recording from earlier this year, also on cd-r. That's FOUR discs instead of just the one. PLUS, honoring the album's theme - skin and blood - there's also an individually painted and hand-assembled 16-page book - each page is totally unique - and strange souvenirs, like a pen-like object and a large painted band that holds the whole set together. WOW. Like we said, there are less than 10 of these left, we are taking PRE-ORDERS for these, they are NOT in stock, once we know how many we need, we'll order them from Brazil and should have them within a week to 10 days. So if you order this with other stuff, your order will ship minus the Nadja box, which will ship by itself, or if you are a regular mailorder customer, probably in your next order, but you will be charged for it NOW, if you want one don't dawdle. And if you are a Nadja fan, you're definitely gonna want one of these, sure all Nadja records are pretty great, but this one is incredible, an hour long three part epic, the heaviest, most lush and orchestral and intense record we've heard from these two yet. The opening track, clocking in at 25 minutes, begins as a hushed bit of dreamy drift, all gauzy and washed out and shimmery, layered melodies, shifting and swirling and so lovely, very Pop Ambient in fact, until about 12 minutes in, when the drums kick in, the guitars explode, but it doesn't simply get heavier, or louder, it sounds orchestral, huge moaning melodies, what sounds like strings or horns, epic and kaleidoscopic, the sound living and breathing, prismatic and totally warm and glowing, a heaving chunk of blissed out dreamlike heaviness. The second movement is more traditionally heavy, a chugging churning slab of lumbering doom, the pounding drum machine and buzzing riffs, wreathed in a swirling cloud of hiss and buzz and Technicolor effulgence, a sort of incendiary Godflesh style industrial crunch, with buried howled vocals, and constantly shifting patina of glitched out effects and electronic buzz, which gives away to the 26 minute closer, beginning with super spare acoustic guitars, which drift into a shimmering field of prismatic glimmer, eventually exploding into another slab of blown out orchestral epic dream doom, totally majestic, and almost choral sounding, wrapped in sheets of staticky buzz, the sound getting more and more fierce and intense and threatening to blow your speakers, total chaos and catharsis, blissful but ultra intense, finally, relenting, and leaving gorgeous sonic vapor trails, laced with buried boy girl vox, a dreamy understated coda, to a seriously epic bit of orchestral buzz drenched bliss. So great. We WILL have the standard version, keep your eyes peeled for it on a future list, or ask us to reserve you one, but those of you who want the QUADRUPLE DISC HANDMADE DELUXE BOXSET, now's the time...

MPEG stream: You Write Your Name In My Skin
MPEG stream: You Write Your Name In Your Blood

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More glitch follies from Japanese electronic composer Toshimaru Nakamura and his now-famous No-Input Mixing Board! Utilizing "internal feedback" from looping the input and output of a mixing board through itself. More active that the near-silence of many other "onkyo" efforts from Nakamura and his contemporaries, each of the nine tracks here are full of abstract throbbing buzzing sounds. Some tumble along, approximating minimalist Chain Reaction style "techno" "beats". Others drone and hiss without any rhythmic structure at all. With these fluttering bleeps and crinkly soundscapes, Nakamura has crafted another compelling, sometimes even pretty, album for those interested in the strange, defective-sounding sounds of "empty" electronic equipment. MPEG Download: "nimb#37" [/audio/nakamuranimb37.mp3] MPEG Stream: "nimb#37" [/audio/nakamuranimb37.m3u]

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Quite the dreamdate here between two beloved Aquarius Records artists! Half of Naked Island is the one and only Brian Pyle - the Northern Californian denizen responsible for Ensemble Economique, Starving Weirdos, and RV Paintings; and the other half is the beguiling Felicia Atkinson - better known as Je Suis Le Petit Chevalier. The two have crafted freefloating abstractions that deftly walk the line between ephemeral songwriting and hallucinatory dronescaping in their respective projects; and this project maintains that aesthetic course with a few choice surprises thrown in the mix! The A-side features a narcoleptic Atkinson repeating whispered phrases in French amidst the coronas and nebulas of synth expansiveness before a muted techno thump begins to congeal all of the forms into a structured diffusion of propulsive rhythms cruising through their conjoined gaseousness. One could harken back to some of those early Pete Namlook recordings. We're knocking the cobwebs out of our brains to recall which one might be most fitting - perhaps From Within (with Richie Hawtin) or Fires Of Ork (with Biosphere). No matter. This is a great track that begs us to ask that these two continue this collaboration! The B-side girds on rhythm as well but is much more understated through the sampled breakbeat with washes of expansive synth, goth-y guitar drone, and oceanic drift slowly burying that rhythm under ripples of delay that may be the aggregate of Pyle's vocals. Very cool stuff. Also, we should note that the sleeve comes with a very cool lenticular artwork. Fucking trippy!

MPEG stream: Deep, Transcendent Waves Of Golden Light
MPEG stream: Play It As It Lays

It's probably no surprise that we were intrigued when we first heard about this disc, after all the press release claims that it "researches the dark associations of post-black metal". And they go on to recommend it to fans of Burzum's masterpiece Filosofem! However, it must be the ambient aspects of Filosofem they're referencing, as you'll find no true frosty guitar buzz here, instead this is a purely digital, all-electronic album released by the UK's ever reliable, experimental Touch label, home to the likes of Fennesz, Philip Jeck, B.J. Nilsen, Chris Watson, and others. Intriguing, eh? Of course, if we hadn't read that press release, we might never have related this to anything black metal at all, but we'd still like it. It's a very pleasant and varied dronological document, suggestive of field recordings, even though all these sounds are abstract ones, mostly realized inside a computer. There's passages that seem like buzzing insect swarms ("Process Philosophy"), or lashings of wind and rain ("Space-Time Continuum"), or Tibetan temple bells ("Semantic Shift"), or the gentle swaying of leaves and branches in a breeze ("Sun Wind Darkness Eye"). That particular track goes on to generate a mysterious low, soft hum, eventually accompanied by a beating electronic pulse, like much of the minimal techno we enjoy... It's all quite evocative and lovely, although now that we think about it, some of these sounds could also be, like, cold winds blowing across frozen fjords, or sinister rumblings heard inside a subterranean crypt... And who knows, perhaps Nana April Jun (aka Christofer Lamgren), who hails from Sweden, wears corpsepaint whilst working with his digital tools. Probably not, though, since the majority of the text we read pertaining to this release was on the academic side of things. And although discussions of subjects like "the ontology of noise" and other psuedointellectual concepts can be a mite pretentious, regardless of that, all the whooshing, hissing, droning here is very good listening indeed.

MPEG stream: The One Substance
MPEG stream: Process Philosophy
MPEG stream: Space-Time Continuum

In Nanang Tatang, main members of Ida, Daniel Littleton and Elizabeth Mitchell take their dreamy, soothing sound into the electronic realm. Although Muki starts off with a drifting ambience of the most delicate twinkling chimes and whirring digital vapors, as things progress the acoustic and electronic elements entwine effortlessly with Ida's familiar hushed female and male vocals taking center stage. Twelve songs crafted from a palette of feathery guitar strums, soft repetitive piano lines, warming organ, viola and harmonium drones, and occasional subtle programmed beats make for an altogether intimate, wistful affair. Check out "Oldest News" with its Elvis-Costello-on-a-super-drowsy-downer vocals as well as the dreamily meandering "The Fullness Of Time". Simply lovely. Certainly for fans of Ida, but also those of Julie Doiron, Mum and Low.

MPEG stream: Oldest News
MPEG stream: The Fullness Of Time

Of all the tapes in this most recent batch of doozies from weirdo tape label Ormolycka, this one, from the oddly monikered Narwhalz (Of Sound), is notable for two reasons, one, it's not actually new. But we sorts skipped over it the first time around. Which brings us to two, which is, it's actually fucking AWESOME. The reason we skipped over it before, is we kinda had it pegged as jokey friend rock, the name, the song titles, the hot pink goofy cover, but holy shit, what an awesome surprise. In some weird ways, it reminds us of that awesome Fever hip hop record on DHR, super distorted, blown out, noise drenched 8 bit, hip hop weirdness, the beats crunchy and super distorted, the vocals a buried mumble one second, a distorted megaphone yowl the next, all set to the strains of woozy video game squiggles, thick blurry bass buzz, total happy hardcore style techno beats wrapped around dubbed out noise-hop, everything doused in hiss and buzz, wild swooping effects, stuttering and skipping and swirling and lurching and lumbering, total dancefloor destroying, speaker shredding sonic chaos that KILLS. This is the sort of shit we'd want to blast in our tricked out boomin' system ride (especially the one that instead of a trunk full of woofers, features a hundred tweeters, total glass shattering, eardrum melting high end skree). Fucking rad. Ormolycka strikes again. And we stand corrected and bow before the mighty Narwhalz (Of Sound)!!

When we first heard this we had no idea what the heck it was, all we knew was that it RULED. Lots of short tracks, constructed from looped, sped up soul samples, stuttery 808 drum machines, and short snippets of vocals, chopped up and looped into rapid fire weirdly hypnotic mantras. Like the backing tracks to some lost Kanye West record, looped and then rapped over, but the rapping is just the same phrase repeated ad infinitum. Seems weird, and it is, but it's also totally cool and bizarre. Only later did we discover that this collection of tracks, created by 20 year old DJ Nate, gathers up all of Nate's Footwork tracks, tracks specifically created for 'Footwurking', maybe better known as Jukin', a Chicago dance style that's frantic and frenzied and is a big part of local dance battles. These tracks are gathered up from various tapes and cd-r's and YouTube videos, and are so good, warped and mysterious, the drum programming super complex, little bursts of rhythmic complexity laced over the main beat, and those sampled vocals, so intense, often laid over each other to create strange melodic passages that eventually stop sounding like words at all, and those repeated phrases are meant to hype up the dancers during battles. It's not just the vocals either, the samples, those soul loops, are sped up and slowed down, distorted, layered, often shifting back and forth repeatedly in the same song, making everything sound woozy and warped and weirdly druggy and psychedelic. Total ADD hip hop trip out. Listen to the samples. We can't stop listening to this, but it seems to drive some folks crazy, although most of our favorite records do!

MPEG stream: Footwurk Homicide
MPEG stream: Back Up Kid
MPEG stream: Call Me When You're Sober
MPEG stream: Fade Da Black Trak
MPEG stream: Sexual Healing
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We know nothing about these guys, other than this is the latest release on LoBit Landscapes, who released the recent aQ Record Of The Week from Nihiti, For Ostland, and while there are some sonic similarities, NPS is a much more beat driven, dancefloor driven affair. Although from the opening of "Silver Miner", you might be forgiven for expecting something much more murky and abstract, beginning as it does with a weird pulsing landscape of squelches and swirls, a blurred smear of textures, but one that quickly blossoms into a weird sort of future funk, all motorik groove, and noisy, super distorted melodies, which almost sound like wild animal cries fashioned into tones, the result is something at once electronic, but also dense and psychedelic and a bit noisy. The second track too lays down a crumbling, distorted beat, and lays sheets of distorted electric guitar buzz over the top, and this time weaves in some mumbled vox, buried in the mix. It's a hard sound to classify, it's a sort of gloomy electro pop, but one that's both a bit gothy, and a bit noisy. "Flying Penguin" unfurls a weird barrage of metallic melody, before in swoops a fractured, and convoluted stuttery beat, as well as swirling synths, and some alien vocodered vox, the end result being equal parts dreamy electro pop and experimental avant electronica, but with a definite caustic crunch. Although the closer, the awesomely titled "Sad And Fucked (Not Moving)" might be our favorite of the bunch, a swirling squall of metallic buzz, and dense chordal shimmer, seriously kosmische, the sounds airy and ethereal at first, but gradually growing more distorted and blown out, only to seemingly melt before our ears into a woozy, keening, droned out murky drift.

MPEG stream: Silver Miner
MPEG stream: Sad And Fucked (Not Moving)

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SORRY. The first outing for Navigator since their stunning Nostalgie album from last year is a remix single of their bleak and gritty 'rock' minimalism. Both Third Eye Foundation and Fulcrum Overhaul extend the 4-track / analogue grit to their breakbeat experiments. It's sorta hard to say which speed its to be played at, and it doesn't really matter as this is a fucking great single.

Tricky, Tony Hall, and Martine.

Way back in 2010 we made the debut from this UK outfit our Record Of The Week. This awesomely named outfit, with an equally awesomely named record (This Beat Is Necrotronic) delivered what was at the time, and really still is, one of the weirdest sonic combos we could imagine, churning downtuned drone-doom heaviness, and wild programmed electronics, a crazy collision of metal ambience and electronic beats, that had the potential to be a modern Judgment Night soundtrack (and by that we mean AMAZING, but reviled, hate mail welcomed). And while rap and metal never made the best mix to some ears, there was no arguing with Necro Deathmort's musical math, which resulted in the sort of dancefloor heaviness that just didn't exist, and perhaps some would argue shouldn't. We however flipped out, this was like dance music for metalheads, electronica for dronelords, big beats and brutal blackness fused into something spaced out, hypnotic, fucked up and seriously dementedly genius. So after raving endlessly about three records in a row from these guys (This Beat Is Necrotronic, Music Of Bleak Origin and The Colonial Script), EP1 marks NdM's first ever vinyl release, and we're happy to report that everything we loved about these guys is still in full effect, after a creepy ominous synthed out intro that sounds like the beginning of some druggy planetarium show, the record really kicks off with "Titan", which sounds like dubstep at 16rpm, the beats doused in echo, dubbed to high heave, the tempo a lumbering, lurching lope, and all around that beat, thick swaths of gristly glitched out low end, dense swells of crumbling thrum, thick synth bass throb, we'd have been perfectly happy to just listen to that creeping droned out pound endlessly, but instead, the sound blossoms into something nearly house-y, a little bit Carpenter/Goblin too, pulsing synths, twisted minor key melodies, only to collapse into something a bit more introspective, as "Probe" starts out all kosmische and shimmery, before a driving beat surfaces, and the sound becomes more a sort of psychedelic space rock, the sort of thing you might expect to hear on Agitated or Rocket, a spacey groove, surrounded on all sides by strange electronics and atmospheric swirls. "Kingdom" is where things darken again, a smoldering creep, thick washes of buzzing synth, a pulsing 4/4 throb, lots of churning, roiling low end, and then surprisingly, things get downright dance-y, sounding like some fucked up Kompakt release, maybe remixed by James Plotkin or Stephen O'Malley, the core sound skittery and electro, but the sounds themselves, thick and buzzy, blackened and crunchy, again, a seriously dancefloor darkening jam for sure. "Void" sounds like SUNNO))) run through Dom Fernow's new Rainforest Spiritual Enslavement project, spare and murky, moody and atmospheric, blackened and bleak, with buried beats barely audible through the sonic murk, while close "Scanner" finishes things off on a surprisingly upbeat note, with some blown out glitch-step, the beats super warped and fragmented, and set amidst a backdrop of billowing serene synth dreaminess, a strange juxtaposition that results in a sort of new wave draped electro-glitch, that sounds like our favorite classic IDM gone haywire. Which is most definitely a good thing. Includes a download code as well!

MPEG stream: Gatekeeper
MPEG stream: Titan
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The second installment in a proposed trilogy of 12"s from one of our favorite weirdo electronic outfits, UK duo Necro Deathmort, who besides having a grim and brootal, almost metallic sounding moniker, kick up a sound that's seriously warped, an atmospheric, blackened electronica, with the early records sounding a bit like SUNNO))) meets Squarepusher, the sound seems to be delving deeper and deeper into texture and nuance, beat driven moodiness, and almost cinematic sounding, tripped out psychedelic dub. Still plenty ominous and sinister, EP2 opens with "Sundive", a droned out, industrial sprawl, that sounds more like the minimal techno murk of Silent Servant crossed with the grim-goth rhythms of Vatican Shadow, the pulsing echo drenched beat draped over a thick backdrop of ominous, rumbling thrum. "Mirus" begins life as a hushed swirl of low end pulsations, and gauzy synthesizer squelch, but before too long, the song explodes into some full on metal, a lumbering droney doom, thick down tuned riffage, minimal metallic drum pound, some serious metalgaze style hypno-dirgery, but the whole thing is wreathed in thick swirls of synth shimmer, and more droniness, the vibe almost like John Carpenter by way of Godspeed by way of Neurosis or Nadja. "Channel Fever" lays down a framework of gated beats woven into a skittery eighties sounding rhythm, again, drifting atop undulating waves of synthdrone and atmospheric shimmer, all spacey and washed out, still a bit ominous, but even more so in the last coupe minutes with some ribcage rattling bass, and some slowbuild atmospherics. The second half of EP2 delivers more of the same. "Bleeding" sounding like it could have been borne of some obscure Justin Broadrick project, or perhaps a remix of Moss or The Body, a churning blackened doomic riffscape spread out over a sea of squelch and a backdrop of crumbling distortion, harsh metallic vokills, a lurching slab of electro-doom, swaddled in arcs of blurred melody, adding a strangely melancholic vibe to the proceedings, but for all the little electronic bits this is some straight up metal crush, that should have doooooooomlords digging it big time, but also probably a little confused, especially when that track bleeds directly into "Deadlight", which sounds like some creepy Carpenter soundtrack, all woozy synths and sinister minor key melody, kosmische drift meets eighties horror VHS ambience, sounding like it could easily have been an alternate soundtrack for recent dystopian seventies style sci-fi art flick, Beyond The Black Rainbow. That sound continues right into the closer "Are", all pulsing synths, and swirling cinematic ambience, unfurling like more soundtrack drift, before the drums come swooping in, transforming the sound into something weirder and heavier, a spaced out doom-psych maybe, or some cinematic psychedelic synth doom, not sure what to call it, but it's pretty fantastic, a lumbering landscape of rumbling, atmospheric drones, swirling synth shimmer, moody melodies, and minimal drum pound, all brooding and tense, super atmospheric, haunting and heavy, again sounding like the score to some lost avant / arthouse sci-fi epic. LIMITED TO 333 COPIES!!

We made the debut from the awesomely named Necro Deathmort our Record Of The Week way back in January of 2010. As we mentioned in that review it was pretty much a no brainer, the band name to begin with, the album title (The Beat Is Necrotonic), but then the sound, heaving walls of SUNOO))) like heaviness wedded to skittery beats, blackened drones wrapped around low slung rhythms, a sort of SUNNO)) meets Squarepusher electro-metal-blackened-dubstep, beat flecked slo-mo doom bliss wreathed in hazy spaciness, all drifty and mesmerizing, psychedelic, hypnotic and HEAVY. If anything, this new one, record number two, even more evocatively titled Music Of Bleak Origin, is exactly what you would hope for as a follow up. In some ways, the gimmick of the first record was almost enough, sludgey metal guitars AND beats, granted, those two elements, not usually good bedfellows, were deftly woven into something special, heavy enough for the metalheads, but atmospheric and rhythmic enough for everyone else, but here, it's like that first record reimagined, and re-engineered, sonically, compositionally, it's heavier, more melodic, the songs are more catchy, more actual proper songs, the beats are bigger too, with much of the record REALLY sounding like a metal dubstep record, with the sound shifting easily from doomy skitter, to lurching electronics laced lumber, at its heaviest, definitely worthy of any self respecting metalhead's attention (adventurous metalheads we might qualify), but those heavy moments are not JUST heavy, their tangled up with squelchy synths, spaced out effects, keening vocals way down in the mix, almost like they decided to add space rock to their already eclectic palette, and when they're more concerned with beats, that heaviness, and doominess, and bleak origin, seeps into every beat, every twisted loop, or fuzzy buzzy synth. The brief opener is the perfect intro, a stuttery beat, pelted with squelches, laid over thick undulating bass, all wrapped in thick layers of buzz and long streaks of high metallic skree, a perfect chunk of electro metallic dirgery. It's not until the second track that NdM really get to let loose, starting out with a super skeletal beat, draped with fragmented melodies, hushed muted effects, a sort of spacerock Portishead, but then the big guitars come crashing in, and then the sound becomes a churning psychedelic doom, lumbering, lurching, the thick crumbling guitars wrapped in swirling synths, the vocals heavy with effects, a sort of metalgaze spacedoom that RULES. Which makes the next track even more of a surprise, "Temple Of Juno" is straight up dubstep, like it could have been yanked off some Hyperdub 12", until the music swings in, changing the vibe to low slung and again sorta doomy, but riff with woozy synths, wordless vocals, another dirgey bit of psychedelic electro doom, that builds and builds until again, the guitars are massive, roiling and churning, now strapped to buzzy dubsteppy synths, and so it goes swinging from dubbed out metallic lumber to spacey synthy drift and back again. "Uberlord" is total blackened guitardrone, wall of crumbling buzz, but again, liberally does with swirls of static, fractured FX, and shinnery synths, the result way more spaced out and psychedelic that heavy, which gives way to "For Your Own Good", which starts out all murky and muted and heroin house-y, gradually getting more and more dubbed out, the beats building in intensity, more buried vocals, it's not until about halfway through that the beat splinters into a way more propulsive rhythm, still motorik but more muscly, all wreathed in a synth spacey haze, hypnotic and dreamily blissed out. "Devastating Vector", unwinds a stuttery techno beat, and some glitchy synths, and lays them out over a dense layered sprawl of ominous low end rumble and buzz, which transforms into some undulating buzzed out bass, the song a sort of dubbed out techno flecked dirge, until it gets SERIOUSLY electro, the sound wrapped in zig zagging synth melodies, dizzying and almost housey, but still the beat and the low end churns along relentlessly, it is actually sort of funky, but in a way that manages to kick ass, not what you would expect from 'funkiness' in this context at all. And of course it's Necro Deathmort, so halfway through, the song explodes in a burst of static, only to come out the other side all thick and buzzy and sludge, the bass blown out and blackened, the beat a lumbering lurch, the whole thing oozy and melty like the whole thing is some huge black mass pouring from your speakers. "Blizzard" sounds like part two of "Devastating Vector", less funky and more plodding, the synths set on swirl, lots of crunch and distortion, moody and murky and woozily washed out, the song rife with subtle melody, the vibe sort of melancholy. "The Heat Death Of Everything" starts out all big booming beat, and keening high end drones, sounding like Jesu or Nadja or something, and then the hammer falls, and by hammer, we mean massive, thick, sludgey downtuned riffage, about as metal as these guys get, a death march trudge, all howled distorted vocals, pounding drum pummel, squealing feedback, almost industrial / mechanical, but with a Moss / Bunkur sort of ultradoom vibe as well, the sound eventually begins to glow, with subtle color, and buried melody, eventually transforming into a swirl of washed out shimmer and gauzy droned out drift, only to lead straight into the final track, "Moon", a haunting hushed outro, all muted moaning melody, and echo drenched skeletal rhythms, like a doomdronedirge Portishead, total druggy, late night chill out minimal electro-doom slowcore drift. Fucking awesome, AGAIN. Anyone who bought the first one is DEFINITELY gonna want this one too, and anyone who somehow missed out on these guys the first time around, here's another chance. Absolutely contender for fave record of the year, metal, electronic, otherwise or BOTH. Super swank packaging, a massive, gorgeously illustrated fold out poster sleeve, housed in a stickered PVC plastic sleeve.

MPEG stream: Jaffanaut
MPEG stream: In Binary
MPEG stream: Temple Of Juno
MPEG stream: Uberlord

When we first discovered Necro Deathmort, they were recommended to us as sounding like Squarepusher style electronica fused to SUNNO)))-like sludge, and that was actually not far off the mark, with most of the record sounding precisely like that, thick crumbling distorted guitar buzz laced with all manner of stuttery skittery beats, and then the second record, found the band seeming to focus that sound, relying less on the electronica-meets-metal thing, and instead creating songs that just happened to be both electronic AND heavy, and while it wasn't as quirky or fucked up as the debut, it was definitely a better records, with proper songs, and one that does get plenty of repeat play even still (although so does the first one, which we still love), but we were super excited to discover there was yet another NdM record, a brand new one called The Colonial Script, and we knew from the second we put it on, we were gonna dig it as much as the first two. For folks new to NdM, just check out the first two sound samples below to get a feel for what these guys are all about, which on the Colonial Script, definitely hews closer to the second record but does feature some seriously metallic moments. Opener "Imperial" starts of all skeletal and spaced out, and when the drums drop, it's like the heaviest, darkest dubstep you've ever heard, the beats pounding away over thick buzzing rumbles and whirring low end, all wreathed in swaths of hum and thrum, and super dynamic, with the track stopping to creep along like some industrial doom, before gradually building back up again, the second half of the track super melodic and melancholy, all minor key and midtempo, a sort of true doom electronica if that makes any sense, building and building to a final few minutes blow out of metallic industrial pummel, which leads directly into "Led To The Water", which is all blown out metallic dirgery, the guitars thick and corrosive, the beats all Godfleshy and mechanical, the vocals a howled feral wail, the vibe is somewhere between black metal, Neurosis and Godflesh or Neurosis, the churning heaviness underpinned by all sorts of subtle melodic shimmer, the metal sort of peeling away, leaving a stripped down skeletal lumber, that fades out, the sounds growing more and more brittle before disappearing in a dubbed out haze. Hard to resist, another one of those bands that we sort of always wished existed and now does. This is some dancefloor destroying heaviness, the sort of stuff that no proper DJ in their right mind would drop, but if they did, people would lose their shit. Much of this record plays out more like some blackened industrial metalscape, not electronica so much as programmed beats driving big riffs and grim atmospheres, but that can change when you least expect it, like on "Endless Vertex", when another sprawl of downtuned lumber gradually shifts into a gorgeous glimmery bit of beat heavy skitter, or the sort of DJ Shadow-ish blackened hip hop of "Shadows of Reflections of Ghosts Past", or even the sort of droned out krautrock shuffle of "Starbeast", that track adding swirls of synth, and thick undulating low end, resulting in a fantastically broody slab of low end beat driven minimal mesmer. But again in between those instances of overt electronica, NdM are a seriously heavy outfit, trafficking in the sort of effects drenched programmed drum driven doom, that will have Nadja obsessives losing their minds. As always, WAY recommended! For folks into electronic music, heavy music, or obviously both, and like the other two records, a shoe in for end of year top ten lists, even though it's only May. Packaged in a cool super black 6 panel digipak.

MPEG stream: Imperial
MPEG stream: Led To The Water
MPEG stream: Endless Vertex
MPEG stream: Wretched Hag

This record seemed like it was custom made for aQ. They're called Necro Deathmort, the record is called This Beat Is Necrotronic, they've been described as SUNNO))) meets Squarepusher, it's heavy, it's skittery, it's dark, it's like a metal dubstep record, or a grim electronic laced doomdrone record, some of the tracks are stuttery and rhythmic, others are grim and ominous and intense, all of them are heavy, the sound veers from spaced out and downtuned, to skeletal and psychedelic, to thick and caustic, to big beated and bassy. Thanks to aQ customer Mark for introducing us to these guys, we've been listening to it nonstop since we got it in. It's definitely a tough one to pin down, a little all over the map, but no matter what's going on, the various sounds and vibes and moods are definitely connected, joined by a thick grim black thread. "Spilth (Spill Your Filth)" starts things off with a lumbering electro jam, all squiggles and squelches, glitches and buzzes, but underpinned by some serious speaker destroying bass, fuzzed out and thick and rumbling and very very prickly, like the heaviest dubstep bassline you've ever heard, cranked even higher. "Hurt Me I'm Bored" is where the band get serious, spreading out a serious chunk of smoldering electronic flecked doom, haunting and propulsive, the drums simple and stripped down, the main riff minor key and a little bit woozy, all around the main groove, clouds of static and hiss swirl and spark, the low end again thick as hell, the guitars gradually growing more and more metallic until, the track is full on doooooooom, but still peppered with little squiggles of distorted leads and various shards of electronic detritus. "I Can See Through Time" is all washed out whir and hushed shimmer, looped and chopped sounds smoothed into a droney almost pop ambience, which quickly gives way to "Return To Planet Atlas", a sort of trip hopped slowcore jam, all big beats, and thick gnarled woofer shredding low-end, surrounded on all sides by streaks of high end, and all manner of swirling effects. The beats are definitely reminiscent of Scorn, even Bomb The Bass (remember them?), but a bit amped up and a lot heavier: "Necro Effigy" is another strange beat driven groove, with strange voices, croaking frogs, fractured glitched out crunch, and stuttery stop start beats, "Broadcast" is a dreamy interlude, sampled voices, looped bass notes and distant drone-y rumbles, dreamy and ethereal, which leads right into "I Fought The Law And The Law Won" which sounds like Portishead, all smoke-y and late night, or maybe a more beaty Bohren, creepy crawly, mysterious and weirdly pretty, "Technicolour Minstrel Show" begins with a SUNNO)))-y wall of crumbling blackened sound, only to give way to a whirring soft focus dreamscape, while "Origami Werewolf" is a dark loping jam, all throbbing beats, sheets of blown out guitar, keening feedback, and some serious industrial riffage, and finally, the record closes with the nearly 13 minute "Ultimate Testament", a gorgeous super minimal slowcore crawl, the beats skeletal and spaced out, the guitar raw and distorted, thick and noxious, but the melodies epic and majestic, it sounds like it might build to classic post rock crescendo, but instead, everything drops out except for the drums, and the last few minutes are a strange minimal beatscape, booming, pounding, crashing, but with tons of space, the beats echoing into the blackness before winking out, only to be replaced by another beat, until there's nothing left. This shit is amazing, so dark and heavy and unlikely. Gorgeously packaged too, in a super swank fold out six panel sleeve, adorned with some garish woodcut style illustrations, and be sure and check out their Myspace page as well, tons of other music that didn't make it onto the cd, including a killer reinterpretation of an old Nirvana song, that gets all Necro'd. So Rad. And just for the record, January is in no way too soon to start picking records for your best of 2010 list... just so you know...

MPEG stream: Hurt Me I'm Bored
MPEG stream: Spilth (Spill Your Filth)
MPEG stream: I Fought The Law And The Law Won
MPEG stream: Technicolour Minstrel Show
MPEG stream: Origami Werewolf

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SORRY. Beta Bodega's Needle is actually a collective of like-minded experimental electronical artists who are working under the fictional guise of being involved in the intrigue of international espionage. While a few of the pieces on this album have an interesting brooding quality to their digital clickery and post-Warp electronica, the majority of this record sounds like a less-than-successul sound design assignment made by posturing art school students who mumble about being the next Julian Schnabel between cigarette drags, while not have an ounce of creative ability in their body to actualize such bold claims. Those responsible for these bad parts (and possibly for the good) are Frank Metzger (formally of Oval), Patcha Kutek, V8, Kim Cascone, Phonem, Full Swing, Sony Mao, Andreas Berthling, Oevind Idsoe, and Random Industries.

Way back in the 20th century, 1991 to be precise, media pranksters Negativland got themselves into a legal tussle with Island Records when they naively released a single on SST that covered U2's "I Still Haven't Found What I'm Looking For" and revealed Casey Kasem to be a foulmouthed ogre, all on the same track! Both SST and Negativland were subsequently sued into submission. Copies of the original U2 cd can still be had for anywhere from $75 to $100 US for the disc and bootlegged copies have been floating around ever since the track was pulled. Rather than go further into that whole can of carnuba wax I'll just refer those who are unfamiliar with this mother of all fair use lawsuits to Negativland's thorough and entertaining book "Fair Use: The Story Of The Letter U And The Numeral 2", a 288 page document of the entire court case and Negativland's subsequent legal troubles with Greg Ginn and SST. Well now, here we are in a new millennium, on the ten year anniversary of the lawsuit where Seeland has already tested the legal waters with their re-issue of John Oswald's magnum opus "Plunderphonics" and so far the sharks aren't biting. Sensing that maybe the industry's lawyers have lost their taste for such passe copyright issues in favor of the much tastier Napster and the whole peer-to-peer fiasco, the label "Seelard" (hmmm...) has stepped in to see the return of this classic piece of copyright infringement. As a bonus to this risque reissue Seelard has included 9 extra tracks relating to the original single such as an excerpt from an Over The Edge (Negativland's Don Joyce's weekly radio show on KPFA) show from 1989 where the germination of the single began. One track is an edited version of the "Radio Edit" so that you *can* now safely play it on the radio -- all the nasty words have been covered up with a cornucopia of sound effects. The seven remaining tracks on this disc were taken from live performances by Negativland in 1990 (Knitting Factory, NYC) and 1993 (Great American Music Hall, SF) and cover Casey's "Long Distance Dedication" on up to material that wound up on the cd that accompanied Negativland's book (see above). There's an abundance of good material added to the fated single in these live performances including numerous tapes referring to "U2" that Don Joyce had picked up in the interim, plus some more serious audio forays detailing Francis Gary Powers' fateful flight over the USSR in a Lockheed U-2 spy plane. Diddley Shit!

MPEG stream: Special Edit Radio Mix - I Still Haven't Found What I'm Looking For
MPEG stream: The Black Lady of Espionage (Live)

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SORRY. Oval-esque hard disk editing of digital skipping, from a variety of sources including electrical input buzz and pop, toy like melodies, and non place ambience. Quite lovely.

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SORRY. Neina are a Japanese trio recording for the famed Mille Plateaux label out of Germany. They take a cue from Oval, with whom they share a fondness for warm & scratchy minimalist electronica, then make it even more interesting. At first sounding charmingly as if they're underwater (where it's peaceful and not claustrophobic), they settle into a brief but brilliant few minutes of what actually sounds like IMPROVISED bleeps, swoops and beats. They also explore the gentle but insistent pulsing associated with artists like Pan sonic and other Chain Reaction outfits. It's quite lovely!

Two new releases on this week's list from Medical Records, both of which have us once again wondering, where in the heck do they find this stuff?? Paul Nelson was a Portland native, who was obsessed with analog synthesis, he was well versed in music and music theory, but was also into ELP and Brian Eno, and as the years went on gathered more and more synthesizers until he had the opportunity to record an album, which was Vortex, recorded in 1981. Limited to just 1000 copies and self distributed, over the years Vortex became quite the collector's item, and it's easy to see why. The opening track, the only non-instrumental track, is a primo slice of futuristic synth wave electro pop, complete with robotic vocodered vox, crazy catchy, and ultra poppy, it's not hard to imagine "Automated Man" as a could/should have been eighties hit. But the rest of the record is way more spacey, the bulk of the album made up of the five part title track, which finds Nelson channeling Tangerine Dream and John Carpenter, swirling synths, pulsing arpeggiations, spaced out and sci-fi and cinematic, especially on the second part, where things get downright Carpenter/Goblin-esque, fans of Zombi and Majeure and Umberto will flip for sure. The rest of the "Vortex" movements drift from planetarium show style cosmic drift, to smoldering galactic Euro-synth shimmer, to ominous, brooding soundtracky synthscapery. The suite is interrupted by "Labyrinth", which is all eighties electro pop, pulsing rhythms, programmed drums, swirling ethereal shimmer, you can almost imagine the Human League like vox that would fit perfectly, but instead, it remains instrumental, blissed out and softly psychedelic. As always, fantastic packaging, heavy full color jacket, the vinyl 180 gram white opaque splatter, with a printed insert featuring an in-depth interview with Nelson, and of course, it's also super limited...

MPEG stream: Automated Man
MPEG stream: Vortex 1
MPEG stream: Vortex 2

Nemeth is the first solo outing from Stefan Nemeth who we know best for his work with Radian, one of the more compelling and stimulating electronic post rock outfits of the last several years. It makes perfect sense that he has also been hard at work scoring various films projects since he has such obvious skills for creating brooding sounds that sizzle with subtlety and mounting tension. Over the last several years Nemeth found himself creating soundscapes for experimental filmmakers and installation artists. He used those works as his source material in creating this debut solo work. This is by no means a laptop project, as Nemeth used lots of organic instrumentation like guitars, percussion and synthesizers along with his electronics and programming skills to create these chilling sounds. It's pretty impossible to tell which sounds are real and which are electronically generated in this work and that's what makes Nemeth's music so spectacular. He treats all of the elements he uses with a fluidity that makes all the disparate sounds wash into each other. Film reminds us a bit of the more subdued and ominous elements of Pan Sonic, the hypnotic qualities of Circle, the ghostly decay of Thomas Brinkmann. All great company to be in, Nemeth has created a record that uses all its layers and textures with mindful perfection!

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Neotantrik is the duo of Finders Keepers / B-Music head honcho Andy Votel, and Sean Canty of Demdike Stare (the two also run the Pre-Cert label), accompanied by legendary electronic pioneer and Buchla synth master Suzanne Ciani, Swiss jazz legend Bruno Spoerri and folk chanteuse Jane Weaver! We weren't entirely sure what to expect, in fact we somehow missed the first NeoTantrik lp entirely, but Blue Amiga is pretty stunning, a series of pieces captured live over the last year, a gorgeous collection of cinematic ambience, and blissed out synthiness. Beholden to classic cinema for sure, the sleeve was designed by Asia Argento (daughter of legendary director Dario Argento), and features giallo actress Daria Nicolodi floating in shimmering blue water, the sounds drift from the blurry, bleary, blissful hushed thrum of the title track, to the strangely soundtracky "Mimologue", which adds all sorts of percussion and mysterious electronics, to an otherwise dreamy shimmer, the results tense and intense, but still strangely lovely. From there on out, there's creepy Carpenter like synth swells, tripped out kosmische ambience, glistening crystalline drone music, blissed out planetarium ragas, avant musique concrete, and a sprawling final track that sounds like the score to some mysterious art house thriller, woozy, swoonsome swells, and keening high end melodies, deep resonant bass throbs all infused with a minor key melancholia.

MPEG stream: Blue Amiga

Second transmission from this strange super group, headed up by Finders Keepers mastermind Andy Votel, who on the last NeoTantrik record, was accompanied by Sean Canty from Demdike Stare, electronic music pioneer Suzanne Ciani, Swiss jazz legend Bruno Spoerri, and folk songstress Jane Weaver. We're getting the impression that the rest of the crew might not have made it along on this second voyage, it's a much more minimal affair, and way murkier, and moodier, unfurling as a kaleidoscopic cosmic drift, a sprawling psychedelic slow burn ambience, that sound like mysterious transmissions from beyond the outer reaches of the galaxy, sun dappled, but likely by some other, alien sun. Background of smoldering shimmer, gauzy, and hazy, overlaid with strange chittering electronics, that sound more like weird interference than proper rhythms, textures ebb and flow, pulses surface and recede, soft squalls of smeared noisiness wash over but soon drift away, ghostly long tones stretch out into lush, undulating layers, the sound manages to be equal parts hushed and intimate, sinister and psychedelic, cinematic and surreal. Buried percussion bobs on dreamlike expanses of softly distorted shimmer, before settling into a darkly rhythmic groove, woozy and dreamily druggy, a sort of soundtrack electronica, that at times sounds like it was plucked from some obscure seventies soundtrack, and at others, like some collaged landscape of ominous ambience, wreathed in reverb, peppered with little flurries of what sounds like xylophone, tolling bells, a combination of archival sounds, old tapes, and improvised performances, deftly woven into some a truly trippy slab of kosmische cinematic psych. LIMITED TO 500 COPIES!!

MPEG stream: Dilettante A
MPEG stream: Omnichrom

It's always been hard being a woman in a male dominated scene, but it must be doubly hard when you're driven to explore and expand and alienate the dance floor the way Riz Maslen is. But the scene's loss is our gain. This double cd (disc two is a cd-rom movie

RealAudio clip: Still
RealAudio clip: Closer to the Sun

Riz Maslen's first outings as Neotropic and Small Fish With Spine were not all that impressive, but her new album for Ninja Tune certainly is. Mr. Brubaker's Strawberry Alarm Clock is a very good brew of searing beats, arrhythmic time signatures (ever heard 'dance music' in 9/8?), and amazing sampledelia that is reminiscent of all of the great sampling tricks pulled out by Amon Tobin. One of the only women in the electronica scene that [1] creates all her own music [2] in her own studio and [3] it's really good.

Continuing to explore and broaden her scope, the usually kinetic Neotropic (aka Ms Riz Maslen) eases us into her new album with a pair of uncharacteristically gentle near-pastoral piano driven numbers. Very soothing and pretty. About halfway through the third track, things darken considerably into unsettling washes of hiss. From there it's much more familiar Neotropic yet still quite sedate. The piano remains but it's surrounded by slinking and ominous deeep basslines, insectile textures and effected vocals. The sixth track "Feeling Remote" is a definite highlight - a haunting harmonica leads the richly atmospheric yet uncluttered procession that also includes a relatively straightforward shuffling beat and sleepy low chimes. Ghostly and mesmerizing.

MPEG stream: New Cross
MPEG stream: Feeling Remote

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Julien Neto creates velvety and gorgeous drone music that twitches with static-like prickles. Each track of Le Fumeur de Ciel envelopes the listener with an aching heaviness, the kind that originates from deep within your chest. Quite moving and very film score-ish. If you enjoyed Port-Royal's Flares album that we highlighted last list, you might also find Julien Neto's music ticklin' your fancy.

MPEG stream: VI (featuring Keith Kenniff)
MPEG stream: Questionable Things