Recently remastered and reissued on their own Geometrik label with radically different cover art and some bonus tracks, this classic 1992 album captures EG in their noisy, rhythmic industrial prime. Like 1991's Sheikh Aljama before it, Arispejal Astisaró flirts with a superficial Middle Eastern influence, but the real draw is its dense and relentlessly punishing machine rhythms. As with many EG efforts, it is sort of a primitive, hit-or-miss affair that largely lives or dies on the strength of its beats, but its highpoints are among the most visceral, bracing, and distinctive works of industrial dance music's brief golden age (and its occasional divergences are even better).
Protection is a long-gestating synth duo consisting of New Orleans' Sam Houston and NYC's Daniel McKernan, the latter of whom has collaborated with both Coil and Cyclobe in the past. Given that pedigree, it is not surprising that this debut EP boasts a distinct Coil influence, but that nocturnal, hallucinatory thread is wonderfully bolstered by both a knack for strong hooks and a guest appearance by the always charismatic Little Annie.
This material is a series of soundtracks that Rutger Zuydervelt composed to complement Esther Kokmeijer's short films of Antarctica and Greenland, thus fitting in well with this Italian label's frigid, isolationist aesthetic.  Rather than overemphasizing minimalism and emptiness, Zuydervelt instead works in subtle and understated conventional electronic moments in, giving the album a unique feel rather than by-the-book sparseness that could have been.
The Touch label's extensive roster only has a few artists who would be considered classical in the traditional sense, and Hildur Gudnadottir is one of those.  With instrumentation consisting only of her cello and her voice on some of these pieces, and guest musician Skuli Sverrisson on bass for one of them, Saman is a stripped down affair that excels at what it intends to do, but does not step out of that comfort zone either.
The title of this Australian artist’s latest album is extremely fitting.  Passages of roughly edited tape, collages of indecipherable found sounds, and bizarre production is disorienting at best, and downright baffling much of the time.  It is because of this confusing, jarring, and sometimes frightening nature that the disc works so well.
500m beautifully combines Gudrun Gut’s programmed percussion and editing discipline with Jochen Irmler’s meandering organ playing and natural spontaneity.
As a split release with each artist submitting three pieces, the pairing is perfect.  The two projects share similar aesthetics and aptitude in their own take on modern industrial music.  Even though their individual work is clearly distinct from each other, the two fit together very well into a cohesive whole.
As one of the major triumvirate of Italian power electronics (alongside Atrax Morgue/Marco Corbelli and Mauthausen Orchestra/Pierpaolo Zoppo), Moreno Daldosso has not released any new material in over a decade, and Der Totenkopf may be his final recording. With his two peers no longer with us, this record serves as an epitaph for this distinct group of artists, and it fits right in amongst the best of those albums.
Much to my delight, Medical Records has recently reissued two of the arguable jewels of the Severed Heads' discography: 1983's 
