Reviews
Sonar, “Cut Us Up”
The latest from Dirk Ivens’ trad power noise project stays the course, for better or worse.
Weep, “Alate”
The third album from Doc Hammer’s new wave influenced project is a confident and affecting affair, upping the drama the band has been quietly gathering to itself.
Restricted Area, “Wear & Tear EP”
On the follow-up EP to 2011’s “Core Excess/Underdog” the Berlin-based EBM project show a more holistic view of many of their influences.
A.E.C., “Hate Life”
Shelved for a decade, this lost record by Tyler Newman (Battery Cage, Informatik) does a solid job of representing its time and and place, and is well deserving of some long overdue listening.
Espermachine, “This Dying Life”
The debut for Tom Shear’s 23db Records takes a while to catch on, but has charms beyond its more apparent influences.
The Pain Machinery, “Restart”
The Swedish duo find a way to carry the sea change of their last release forward, offering a richer iteration of their blunt, acid-touched EBM.
Object, “Mechanisms of Faith”
The 90s dark electro sound lives on in the latest LP from Object.
In Death It Ends, “Forgotten Knowledge”
Porl King forges ahead in his quest to discover new modes of dark music and delivers a slab of cold, nodding riffs and doom-laded atmosphere.
The Pitch: Soviet’s “We Are Eyes, We Are Builders”
Our regular feature in which one half of the senior staff pitches a record to the other returns, this time with some millenial synthpop in a distinctly classic vein.
The Unquiet Grave: Big Electric Cat
The Unquiet Grave returns with a profile of Australia’s Big Electric Cat!
Decoded Feedback, “disKonnekt”
The new album from Canada’s Decoded Feedback does little in the way of breaking new ground, while still offering up something for the electro-industrial faithful.
S U R V I V E, self-titled
An astonishing debut which seamlessly blends a wide range of ambient and electro sounds, while never sacrificing cohesion or accessibility.
