Science Cult Records
TBR: 27th November
One half of the italo-beat supergroup Outtake puts his pedal to the metal and tests the wheels. Vincenzo Capaldo is here and with the moniker Bardamu is about to release a four track original that verges on the darker side of ebm, krautrock and techno for us as the darker months set in.
It begins with a vibrating melody that creeps along slow inclining stairs. The frantic buzzing slowly steps from position to position as a drum starts pounding a deep and resonant tempo. Sudden and chewy drums and percussion flow in from all sides as layers of drumming merge into choppy waters. Sans Titre builds with awkward uphill motion, as the music builds with discordant mixing and frightening breaks, the progression lurches from ladder to ladder as the energy continues to rise.
Next is Muffin Man. It works up to a climax slowly with the sound of a twisting mechanical device which soon joins scratching sounds and vocal samples. A buzzing sonic vibrates in the weft as intertwined loops continue to add pressure. Soon a drum is given a chance to pound and with plenty of sloshy metal-work, the percussion is given a firm riveting pulse. Dancing energy pushes forward as a break gives way to echoing vocal. Dirty chords and smashing drums then replace the noise and continue to direction of the track. A throbbing tempo underpins an interesting and organic culmination of sounds.
A smooth synthesiser build opens as vocal chatters across distorted airwaves. Cymbals like snorting nostrils sniff a rhythm that's soon bumped up by a repeating snare. Muffled tones and rhythms push onward through a misty thick fog which becomes a marching path of new and dynamic tones. A pulsing bass synthesiser chugs away like landmarks flying by at high-speed. Odd vocalisations mix with tapping percussives and shattering samples that scatter sound in all directions. Lasers and deep depths of bass combine with odd emotive noises. Death At Work combines stressful experience with layered velocity that we allow to happen outside of us.
The final offering is an Instrumental Version of Death At Work. It feels like a straight copy and yet as it opens out like a blossoming decoration, the sounds on offer are clearly not the same. Familiar rhythms find their way in but a certain element of the mix is not there, instead giving way to other more organic sounds that squeak and squash in the resonances.
Listen to Bardamu on Soundcloud
You can find out more on Science Cult online
Find Science Cult Records on Bandcamp
Out 23rd October
At a secret location somewhere in the highland metropolis of Glasgow, Bricolage Records emit quality and experimental electronic music to the world. This latest EP sees two regular artists team up and work on something together. Ty Lumnus and Urgula are best known for their own projects however the cCmndhr epoch surely sits firm on its own. This work is set on a fictitious island named Qwghlm and centres on the concepts of breaking codes and underwater research. Highly technical as always, the mental picture created by the idea is enough to invite the curious listener.
It opens as mysteriously as it reads with a whining pitch like a violin under digitosis that swerves and meanders in humming yet graceful manoeuvres. Drums then fold in like pastry filling, lining the matrix with tempo and drive. New blippy droplets form like condensation on cool windows, their tricking forms gently rolling into the mist while gathering mass. Perhaps this is how the universe began, to a rhythm of concave percussion and oddly angular sound tangents. Onnes draws us closer, with the mere shift of tone or break of drum we sit attentively waiting for the next progression.
A shaker accompanies a vocal like synthesise that chatters in poetic rhythms. Alien words made of tonal qualities and multiphonic harmonies clambers along the neatly portioned drumming that rises like oven bread. A bass then drags its feet into the gravel, churning up the undergrowth and revealing damp and nutritious earth. Slow and meaningful bars work their way through rose garden passages that sit meditatively in their own glorious aroma. We seem o be walking the mysterious paths of the mythical island of Qwghlm.
Huff Duff takes the finale, throbbing tufts of bass signpost a dreamy tempo as splashes of colour form globules in the air. Mysterious gravity hangs various ornamental shapes of sound at various positions. Newly found synthesiser voices from rummaging and reverse-engineering bring about a continual dynamic which flutters and buffets on distinctive walking melodies. A mechanical element maintains the digital-synthesis of sound function while an organic edge forms wholesome analogue within the manicured front section.
Find out more on Bricolage Records Bandcamp
TBR: 2nd November
Buhduzit is back with more dystopian and technologically relevant fusion. This new release sees two brand new tracks and a couple of extra versions make their way onto the catalogue. With a minimal write-up, we're left with a blank canvas for the music to decorate with its passing energy.
Jungle starts with mellow notes ringing out across subtle chaos sounds from life. These calm down while the composition remains and gathers pace with a drum-section. As the percussion builds alongside electronic sounds and blips, that scene of life re-emerges for a moment or two. A progression allows a build-up of drum and bass before the music reduces down to a selection of muted notes. These begin to form a new thread from which all the other sounds rejoin the mesmeric symphony.
Where's My Spirit follows on from the dreamy title-track. It begins with a snappy drumbeat which resounds on hollow echo chambers. An awkward moment symbolises something, before the music begins to progress. Scratchy rhythms break open bubbular formations that splash with melodic patterns. The pace is invigorated until it becomes a frantic marching beat, one-two rhythm pushes the silky strands of sound through a long-distance journey across every manner of soundscape. The atmosphere creeps in, a moment lapses where only dark clouds swell and roll over the sky. Then, rhythm once again joins the scenery alongside a long and scooping bass.
The next option is a God Damn The Son remix of the previous number. It begins with a spooky intro that wavers on soft lining before opening out into powerful drums. Electronic sounds rattle and dance in shady epochs while the pacing builds through vocal harmonics from distant choruses. The Wukah version opens with deep static and ghostly chimes that echo in short phrases. These become the foundation for a rhythm that builds across a sampled break. Vocals then speak in haunting words that conjure a resonant and slightly reversed drum-kit. Heavy bass permeates the sound as whistles and blips rain down from above.
You can follow Buhduzit on Facebook
Find music from Buhduzit on Bandcamp
and listen to Buhduzit on Soundcloud
Ohm Resistance Records
TBR: 23rd October
We're headed into electro-dub techno land today as Dadub prepares to release their latest work. The Berlin-based duo of members from Holotone and Stroboscobic Artefacts have produced a double 12” release that boasts a clutch of 12 tracks. We are informed that this record will take us through the gates of quantum sound and reality and into experimental grooves previously unknown. Let's hope so, the Italian pair Daniele Antezza and Marco Donnarumma have utilised new and ancient technology and techniques in order to bring this journey to our ears.
It begins with Infinite Regresses. A slurry of mixed sounds scrapes along in a corridor of funnelled infusion as synthesiser begins to spread vibrant tones across the surface. A rhythm builds up as the bars progress onward as new pitches of sonic experimental dreamwork fill the unexpected spaces. A harmony of oddity and tranquil movement stirs deep and resonant spaces from all sides. New additions continually reinvigorate the transcendental sound journey.
Next, a noisy symphony of percussion smashes down in an aggressive surge. Bass then pumps in on trampolines of solid sound. Soon the flow is gradually shifted to bring out new dimensions to both elements which rotate and swap in angular timings before a matching flow is identified. Drums begin to stitch the two opposing forces together as their reverse magnetic fields repel the basic structure. On Fungus Drool is a seriously rebellious track that begs to be criticised by everyone who wants formula. (that's a type of baby milk)
Link To The Quantum hits us with a vocal effect, or what seems like it, first pushed into the very high and then the deep low section of pitch. Drums with ample reverb then stumble across and add a colourful warmth with abstract echoes and energetic bashing. A coagulation of the effects and the drums, which are also edited for abstract sound, brings about a sunny cloud of calming yet kinetic dynamism. Synthesiser and sound-effect warble and reflect from brightly lit balconies of expertly positioned amplitude.
It sounds like a radio is being tuned in to a specific station as the next track begins. Warm and static filled music flows into the room as a reggae beat chugs along behind the distortion. Of Simulacra washes over us with melodic vocal expressions that shimmer in and out of a fabric universe. This is followed by a scatter of sound that flies in all directions like seeds from a hand. Then bass thumps in along with metalwork clangs that shatter any semblance of silence. A mysterious pipe then calls out from the ether in memorial echoes of charm. A drumbeat slams a door and begins to pound against the walls. Along with the bass and wavery sounds, a drawn-out and eerie adventure unravels. New Rationales For Subjugation delves deep into crevices of humanity while shining fading torches onto arcane glyphs.
This is followed by a remix from the legendary Scorn. A thunderous drum enters that's carried by windy howls against vibrating metal. Spruce drumming shambles around in darkened rooms with tight fingers and nimble movements. This Airless Subjugation version unpeels the layers and reveals another dynamic drama that plays out behind the otherworldly machinery. Throbbing bass crumbles at our feet while dreamy terrors swirl overhead.
Next, a creeping up of awkward noise builds like a distant train cluttering past old carriages. Temporal synthesiser then chords out homely chimes as windswept corridors between tall buildings wobble in the gale. Window-panes rattle as the heavy-weight engine thumps past with each wheel grinding on illubricated engineering. Tranced Out throws us into some noisy and steampunk universe. The next offering follows on with similar atmospherics. Gusts of air torrent through ample tubular structures while dusty residues cling to slightly magnetised copper gauntlets. Engine sounds pump onward in sinister actions that spin all manner of greasy contraptions. Airless Vault slams down with huge energetic rampages of mechanically withheld energy that pummels and shudders with each manoeuvre.
A buzzing sensation builds in the ears as Alien To Wholeness clangs and clatters into the building. Its feet are adorned with loose pivoting metal and heavy-weights that smash into everything they touch. Fingers like crane arms and deep diggers reach and hum with high squealing notches. Rummaging through jumble and rubble eventually finds an open cavern that spans in epochs of resonance. Onward the clatterings go, into oblivious trances of exploration.
Focus From The Outrage Ep1 roars into being on rampaging spikes and tin-drum clangs. Odd twists in frequency and looping barrages of decay add yet more angular momentum to the timbre that shivers and scampers in darkened disjoined corners. A metal-frame of scaffold becomes a design to mirror evocative percussive aggression where destruction and chaos form loose tempos against digital lenses. Focus From The Outrage Ep2 continues the same ethic yet with a more densely formed recipe to freak out to. Samples of entertainment snipped to mere fractions jigsaw like piles of dropped paperwork. A resonant and hollow inward scream hurtles into our innards and out the other side of the human black-hole.
It finishes with a rolling hillside of distorted sound. Ghostly voices creep in behind static strangeness as yelps and depth shaking tones radiate sound into unknown forlornness. A dreary window looking out into tar-pits and frozen memories beckons all who enter this final room. Ascetic Denial thrusts us down into a sinister cave where pickles of nastiness creep over our flesh and frightening atmospherics taunt our head-space.
You can follow Dadub on Facebook
listen to Dadub on Soundcloud
and on Spotify.
Dogs Versus Shadows
A Billionth of a Second
TBR: 23rd October
Presenter of Kites and Pylons on Sine FM, Lee Pylon AKA Dogs Versus Shadows releases his fourth album on Subexotic Records. This dystopian inspired sound maker is drawing on introverted muses this time, with a much more inward facing journey awaiting the listener. Said to recapture the paranoia of the Cold War Period as well as remember the ongoing hope that eventually came to fruition, A Billionth of a Second wants to conjure historical sensations that are perhaps relevant again.
With a noisy burst of power that hums behind chiming digital sonic tones, the introduction draws us in as if on a spindle. A slight adjustment reveals an entire new dimension as Sculptress begins. Beautiful plucking droplets radiate in scaling washes of sound that harmonise with slow and breezy illumination that shifts like dreamy temple walls. The pace quickens, a franticness overtakes an initial calm and then, in self-soothing bars, the tempo of the melody reduces once more until relaxed.
A deep resonance bounds in like slow-motion Dobermanns sliding around spacious corners. Radial beams of sound warp and weft from the spinning nexus that pin-points the fulcrum of dissipation. Organ like chords reflect in rippling pools of reverberation. Swift adaptations of key rise and drop like wavefronts on a windswept liquid as gentle reflections beam in lighthouses of harmonic exploration. Rosemary's Window contains a scene that lingers, even when we are not there.
Seed and Ore shivers into being on waves of colliding spectra. A tapping rhythm then emerges from the pale gloom and begins to explore the surroundings. From each angle of the dimensional space, the synthesiser fills the room with its sensation. Then, a ticking like a clock begins to creep in a dreamy passageway that's lit with fairy-lights and glow-sticks. An ambient transition from sculpture to fabric gives way to flowing textures and weaves that depict subtle images. Music for Carports, inspired by Brian Eno no doubt, provides a sonic wallpaper.
The Book Tower is next and it soars into the image on a close horizon as if crossing the crest of a hill. There, perched on the teetering edge of an ancient cliff-face, a tower for books. It's safe, they put supports in, and we can explore and sense the aromatic age-old papers that clump on the many rows that fill every aspect. Shimmering day-glow notations frolic like singing birds as avenues of drawn out articulation span ever onward.
An interesting sample rings out among effective sounds of computer-like interactions. Telephonic whirs glisten behind bell-like forms which glide effortlessly between forests of charming intention. Liar, liar, shining bright takes us on a swift journey through a separate perspective. Roaming (in the head) takes an inward mirror and bends it into abstraction. With all the frightening circumstances we silently acknowledge each day, our head roaming is at the mercy of the world. It can be quite scary in there.
Rampette takes us into a watery and tranquil array of mutated sounds. Oddly panning amplitudes create patterns in a spiralling well of droplets and depth. Bass scratches buzz along cavernous walls in snoring rasps as jumpy melodics glitter with ghostly luminescence. As the album finishes on Mostly We'll Forget, huge deep fingers creep inward and stop in strange blots of memory. A distant gravelly seashore vibrates with moving water before the silence takes a hold.
You can find A Billionth of a Second by Dogs Versus Shadows on Bandcamp
Visit Subexotic Records online
and follow Subexotic on Twitter
Out: 9th October
Alternative electronica from Houston Texas doesn't get better than Ramxes. Working from the comet-tail of the previous work, Neptune Drive, this new EP of 3 further plummets the listener into space inspired fusions of sound. The artist has been covered at least three times, which is an achievement for dystopian electro, and has been an integral part of the process for many other great acts such as Lil B, Lovic, and Neon Blk. The Houston scene has never been this good.
The title-track Gozuki Pluto begins with a pulsing elastic bass that throbs in a quick-step rhythm. Sploshy chords then wave behind in sunny avenues as drumming spells out the corners. Another layer of melodic synthesiser joins in, it rivers across the under-chords like scoops of dry rice. This then gives way to more pulsing bass which grabs the headline for a few moments until the rest of the score livens the embers with a wholesome delivery.
Life Points Zero has a deep and heady bass rhythm that thumps into the shifting sands as if calling a worm. Then chiming metalwork begins to rattle in a uniform gust of continual airflow. Tinny, resonant beats span out from a central point and unison rhythms churn the tempo into a hypnotic soup of similarity. Tuneful sways up and down produce a sliding and glistening swell to the forward direction.
It ends with American Zuu. Snappy beats catch the breeze with a one-two stomp through bass and hat. Snare and more cymbal rattle along until a breakdown gives rise to some more organic rumbling sounds. The drums re-emerge among the foliage as chattery toms tumble into melodic phrases. Then, a chunky swerving bass begins to step in running movements to the left and right. Rhythmic melody on two fronts brings out a jittery harmony that grabs our attention.
Find out more on the Ramxes website
Listen to Ramxes on Spotify
Follow Ramxes on Twitter
Mother Of Mars
Space Without A Shadow
Ransom Note Records
TBR: 16th October
Former members of the post-punk nineties sensation The Rapture, Vito Roccoforte and Gabriel Andruzzi are back on form with their direction changing electronica outfit. The Mother Of Mars name has been the ultimate evolution from their early days running DJ sessions together. Under this moniker the pair can release fantastic and genre defining material. Since their first release and conception in 2018 the duo have been working on their sound and style in ways only known to serious professionals. Now making music that feels more at home in person than on a dance-floor, expect to find something intriguing with their sound.
The track begins with a smooth rhythm played on talkative drums and glittering hats. Vocal drifts across the architecture like loose fitting clothes, their folds and gatherings radiate in the glow of sound. Bass matches the drum as a break lifts the track with more invigorating vocal lines that rap and churn like shaken emotions. The melodic pulse then rises, the tune pushes against the grain until it dominates. In comparison, the vocal-line adds an enriching harmonic edge that lifts the whole composition up.
This is followed by two remixes, by Willie Burns and Mr TC. The first edit opens with huge keyboards that glisten and swell with up and down directions. Droning keys slice through the melody with dominant wheezes that flatten the tone. Vocals snugly fill a space left behind as extra percussion layers form and fizz within. The last offering takes its first steps with an enchanting vocal delay that loops and reverberates on its own gravity. Drums then are sneaked in and left to gradually rise in amplitude. The loop fits into perfect place as the segments fall together in a unifying flow.
Find Ransom Note on Facebook
and the music on Bandcamp
Visit Ransom Note Records online
Ed Okin Can't Sleep
Science Cult Records
TBR: 16th October
This latest release has been created by the highly desirable The Wall Studios technician and fore-runner for the Days Of Being Wild label. Known for having himself arms deep in the music scene, with fingers on the buttons, this newest offering focusses the whole point into 2 sonic blasters and two mirror image reflections distorted by Zillas On Acid and Club Tularosa. Be prepared to examine and enjoy the intelligently designed and long-awaited Ed Okin Can't Sleep.
Jeff Goldblum fans will know what this is talking about. The title track opens with a deep and melodic bass that seems to serve into wah like a guitar. Drums kick in with a smart bass, snare, nd hat combo that rings and bumps in all the right places. Throbs of drum add a break as melodic keyboard overlaps the bass-line adding harmonies to the chugging riffs. Then, as the music swells again, an arpeggio style keyboard fill is thrust into the centre-spot as heavy kick bass shoves the pace onward. Harmonising black-notes then add a peculiar angle to the frantic composition that loops and revolves relentlessly until it closes at the half-way mark. What's going on? The silence brews with all the familiar sonics until a new level of danceable forward motion is unveiled.
Next, a groovy synth melody snakes out in a hypnotic dance. As the tune weaves forward in nibbles of space, drums build and on their percussive stair appears a deep saw bass. It buzzes and exerts force as the tones take the staircase into the beyond. New layers of melody spread over in smooth harmonious drags which glisten and tingle on the pattern shifts within. This is J in G Minor. It's full of retro-gliserine which pangs with absolute authority as the modern level mixing brings out all the parts exactly as they were meant to be. With lead keyboard sections that vibrate along crisp drums and powerful rhythm sections that reverberate with catch and hook, this number takes the floor by force.
Ed Okin Can't Sleep gets a remix by Zillas On Acid. A rampaging bass motif pushes onward to the sound of clattering drums that roll and stumble in well-timed progressions. The revolving melodic undertow brings out a hypnosis and driving force as dancing subtlety manifests as chirruping synth blasts and exquisite drum fills. It changes gear and a blipping bass keeps the revs at a steady pace. Now the framework is zipping by at a faster pace as lamp-posts and fences glide by on icy kinesis. On we travel into voluptuous green hills which gauge our engines as the inclines steepen.
The final track gives us a remix of J in G Minor. This Club Tularosa Resistance Mix breaks in with an attention grabbing rhythm that builds with drums and bass until a synthesiser bass begins to dig the groove. Rhythmic pulses on the instrumentation bounce in spongy trenches that scoop with musical voracity. Build-ups and pressure rises keep the motivation up in the air like updraughts of thermal energy. Bubbles and surface tension become part of the process, now the light is clearer and the pace wants us to explore the next dimension.
You can find Samuel Berdah on Instagram
Listen in on Spotify
Find Science Cult Records on Bandcamp
More Than Meets The Eye
Out 30th September
We are all the way over in Australia today because Andy Garvey has just released her latest EP. Taking the long way around with X-Kalay Records, it's assured that this artist will make huge insteps through the European fan-cloud. Here we are to get a spoonful and a little bit more of this neatly cut and steady flowing electronica from down under. The middle track is given a reworking by Tred, where the core of the music is pushed out to sea and allowed to break the sound barrier.
With floating synthesiser wafting in the open window and a grabby rhythm that lives on its own plane, the track begins. More Than Meets The Eye opens slowly, a stunning bass shatters the gloom as frameworks of reflective energy bounce the world into being. Melody shifts, the bass becomes treble and more drums find niche-holes in the tenuous dynamic. Slow grooves of tone slide gracefully and effortlessly over cracked patterns in crystalline matrices.
With squeaky electronica and rattling disparity, the next cut is unfurled. Rhythm then begins clapping with a rubbery snare before squashy bass starts too splodge in time to the flow. Broken segments of rhythm slip in together to make one continuous sandwich of sonic inventiveness that ties in superbly with the simple yet effective drum-score. This Silence Is False carries a harmonious mystery that wails like windy streets as the sun goes down. Drums begin to drive the music with an in-your-face mixing that lifts the tempo and bass to elevated levels.
Double Planetoid begins with a descending pitch that streaks across a sonic sky like a meteor. These become a shower as more follow to the sound of raindrop drums and shuddering bass. A walk in the park mt with a barrage of moving air, flashing lights, and diagonal showers. Hold on to your rain coats because this is getting serious. Extra pace is found as the motif joins in with an extra layer of perspective energy. Wandering bass tones explore vast spaces while pin-prick highs sparkle and lead the way.
This Silence Is False comes back to haunt us and this time it's given a dose of high-speed editing. The pace is turned up to a gallop as twangy notes bounce along in a sidecar of musical innovation. A slamming of drums then hits us with a rampant bass and hat riff that rolls off the tongue and into the stereo. A hypnotic glare follows as the music bolts into the unknown with its new-found velocity. Spectral tones whisper in secretive chorus as the vocal sample takes us by the collar and gives us a shake.
Follow Andy Garvey on Twitter
Visit X-Kalay Records online
Rowan Blair Colver for The Electro Review.