ESB – Market (2015)


ESB (formerly Elektronische Staubband) is a project by the three musicians Yann Tiersen, Lionel Laquerrière and Thomas Poli. The three analogue synthesizer aficionados joined forces 2010, played several festivals and released their first single in 2013. Finding time between their myriad other music projects in 2014 the trio finally had a short window to record the debut album. Convening at Tiersen’s studio, each member chose two weapons from his analogue armoury and plugged in for ten days of intense, immersive, cosmic jamming. ARPs glide. Korgs drone. Moogs throb. Electricity breathes life into the strange, tangled melodies. Common influences swirl around. Michael Bundt to Tim Hecker, Klaus Schulze to Fennesz, Popol Vuh to Loscil, Kraftwerk to Fuck Buttons, Delia Derbyshire to Grouper, Neu! to Follakzoid. Accidents are appreciated. Unexpected meeting are welcome. The finished songs giving a cracked, kaleidoscopic view of some exotic retro-futuristic world.


Cabaret Voltaire – Neuron Factory (1992)

Re-emerging with a much more original sound after their 1990 house album, Kirk} and Mallinder for the most part rely on abstract electro-inspired ambient-techno with extended voice-over samples for Plasticity. It certainly wasn’t the first time CV had remade themselves without losing elements of their past work (even re-sampling a passage originally recorded over ten years earlier on &”Soul Vine [70 Billion People), and {Plasticity was an excellent reworking of the house blueprint into the growing fringe of techno not necessarily produced for the dancefloor. The tribal flourishes of &”Deep Time” and the obvious signal track &”Inside the Electronic Revolution” showcase the duo as continuing visionaries. John Bush, Rovi

Dan Friel – Life (Pt. 1) (2015)


Dan Friel creates intense, colorful and intricate instrumentals that, for all their complexity, are melodic pop songs. Equally at home in the DIY scene and the contemporary art world, Friel has been at the forefront of a movement of musicians who create dance music with a clear affinity for the extremes of noise and metal, eschewing the traditional dance clubs and adhering to the ethics of the underground. On his sophomore Thrill Jockey album Life, Friel uses his surprisingly small arsenal of gear to distort and maneuver his beloved Yamaha Portasound into an expansive sound that is incredibly varied in tone and texture. This toy keyboard, his first instrument, is manipulated beyond recognition to create songs that are frenzied and epic. Life also has moments that are incredibly sweet, idyllic, and fragile – sentiments that make perfect sense coming from a new father whose instrument of choice is his childhood keyboard.

Life was written and recorded by Friel at his home studios in Brooklyn and was mixed by Jonathan Schenke (Parquet Courts, Liturgy). “Lullaby (for Wolf)” revolves around a dreamy melody Friel sang to his newborn son, and the inspiration for “Sleep Deprivation” should be well known to any new parent. “Lungs” and “Bender” share crushing bass lines that far exceed the range of most computer speakers, their punishing heaviness akin to a demolition scene from Godzilla or a bad turn in a video game. The deliciously addictive melody shared by “Life (Pt. 1)” and “Life (Pt. 2),” is carried by a noisy and churning beat that eventually swallows it entirely early in Life “(Pt. 2).” With his cover of Joanna Gruesome’s “Jamie (Luvver),” Friel betrays his punk roots in the beloved band Parts & Labor. All throughout Life, Friel exploits his intentionally simple set-up to ever surprising effect, using simple electronics to mirror the sounds of guitars, drums, and harmonicas. It is an irresistible and genre-bending collection of underground anthems.

Mick Finesse – For Every Positive Action, There Must Be Objection (2015)

a0466099401_10 (1)

The techno album is a curious thing, often difficult to get right too eclectic and it stops being techno; too workmanlike and it loses the narrative focus that an album requires. Into this lion’s den steps Mick Finesse. With two EPs for Perc Trax and another for Broken20 already under his belt, the Denver, Colorado DJ/producer raises his game for his first long-form opus, ‘The Glamour of Despondency’. What’s notable on first listen is the unity of purpose and vision that straddles the album. A grubby surface provides texture throughout, in line with the Broken20 SOP of releasing any music that sounds faulty, noisy or otherwise dishevelled, while there’s enough heft and drive to provide genuine impetus. ‘A Premonition Of Pretension’ is a story in two parts, opening with faraway voice samples and intricate sound design before a knocking rhythmic pattern begins to reveal Mick’s true dancefloor colours, even if they’re partially hidden from view at first. Those colours are blaring from the off in ‘However Comma’, where brittle slow-mo funk swings atop fizzing, volatile ground noise. That pace is increased further with ‘For Every Positive Action, There Must Be Objection’. Distorted kicks make Finesse’s chest-rattling intentions clear from the off, but strangely disconnected harmonies lift matters above the corporeal. The beatless interlude ‘In Yearning For Aversion’ acts as an aural sorbet, clearing the palate, before ‘The Glamour Of Despondency’ crashes through the door with another trademark off-kilter kick pattern. Squashed amen snares provide wriggle room from the unremitting meter, but the bass drum is the unabashed star of the show here, positioned front and centre. However, ‘The Glamour of Despondency’ isn’t without its tender moments. The opening minutes of ‘Drowning In Contentment With No Hope In Sight’ are blessed with intricacy and playfulness that develop into a softly jacking underbelly, if such a thing can be said to exist, while ‘Regret, As It Occurs’, for all its overdriven elements, has the otherwordly melodic queasiness of vintage IDM. Overall, Finesse’s achievement is in creating a cogent sound world where severity and warmth can co-exist, often uttered in the same breath. The immediacy in its composition be…

Carter Tutti Void – f=(2.6.2) (2015)


Track from the new Carter Tutti Void studio album f (x). Containing all new studio recordings Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Colk Void (Factory Floor) expand and explore onward from their critically acclaimed 2012 debut album ‘Transverse’.

Featuring their distinctive metallic guitar sound, distorted vocals, resounding bass lines and electro industrial rhythms this music is not for the fainthearted.

The CD and Digital editions feature six tracks.

The vinyl album has five tracks and comes with a free digital download code.

f (x) will be released worldwide by the legendary Industrial Records label (home of Throbbing Gristle since 1976) on 11th September.