A self-released compilation featuring lots of unreleased, rare, and reworked music, this is a must for even casual Foetus fans. I nearly dismissed this as another remix album but it is far from that (there is only one remix and it is not bad). It may be an odds-and-ends collection but it is impossible to tell while listening. This is one of the best things J.G. Thirlwell has ever put his name to.
Give us an hour, we'll give you music to remember. This week we bring you an episode with brand new music from Softcult, Jim Rafferty, karen vogt, Ex-Easter Island Head, Jon Collin, James Devane, Garth Erasmus, Gary Wilson, and K. Freund, plus some music from the archives from Goldblum, Rachel Goswell, Roy Montgomery. Rubber ducks and a live duck photo from Matthew in the UK. Get involved: subscribe, review, rate, share with your friends, send images!
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The vibrations these two anonymous musicians produce are deep enough to cause strong sexual arousal, as alien as the technology of a visiting spacecraft, and heavy like the boot of an enemy on your throat. Special Powers is littered with a spectrum of styles, the moods shifting from cold and technological to dirty and carnal fluidly. The beats pound like war drums at times and at others they come to form simple, minimal grooves that pulse and groan with all the twitching, robotic life of a science-fiction novel.
Lullabye Arkestra sunk their talons into me pretty quickly. The album starts with slow, mournful strings and horns that build into a dramatic climax in which the floor suddenly drops out, replaced by the band in full-on assault mode. Before the song even finished, I had to go back and listen to that amazing opening again.
This blacker than black collaboration between Stephen O’Malley and Peter Rehberg is a great piece of mood music. KTL is more subdued than the main output from both of these artists, yet together they instil a palpable sense of tension into the music to give it a captivatingly creepy result.
The One Ensemble of Daniel Padden released two fantastic records before Live at VPRO Radio upped the ante immeasurably. The comical and the sublime tendencies of Padden's previous work were married effortlessly in those recordings. Wayward the Fourth is a continuation of the musical environment showcased in those songs: a small step forward from a nearly perfect performance and a chance to hear more songs in that style.
Pulled from the nowhereland of the out-of-print CDR graveyard, this 10" re-release of Burning Star Core's 2003 Amelia EP is probably the only decent chance that we the latecomers will get to grab these three tracks. This, the first of six vinyl BxC releases in 2007 from the No-Fi label, will hopefully help to shine a little more much overdue light on Spencer C. Yeh's project. Music this good shouldn’t be left to fall prey to disc rot.
Ocean's demos are not earth-shattering examples of metal but they are genuinely great shards of doom. The two songs here should have been included (even as a bonus disc) with the debut album, Here Where Nothing Grows. While it's great they're now available, this limited vinyl-only pressing means that they will not get the deserved coverage.
More analogous to the filthy, funky Ed Banger and Gigolo labels than meathead pop-trance jingles, this album certainly wont revolutionize electronic music, though it will compel clubgoers worldwide to shake their asses and rock to the beat. It's abundantly clear that DJ Splank, also known as John Starlight, can't run fast enough away from his past. 
