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viewing 1 To 22 of 22 items
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LP
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DNAH 001LP
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Stunning album from Ann Margaret Hogan, aka Annie Hogan -- prolific collaborator with the likes of everyone from Nick Cave to Simon Fisher Turner's Deux Filles, Kraftwerk's Wolfgang Flür, Lydia Lunch, and countless others -- here resurfacing on Karl O'Connor's Downwards label, of all places, for a gorgeous swirl of reflective solo piano and field recordings that somehow reminds us of Virginia Astley's life changing early '80s masterpiece From Gardens Where We Feel Secure. Honeysuckle Burials is a quintessentially native reading of the dramatic Welsh landscape described via solo piano and location recordings -- a hauntological approach that marks out Hogan's more personalized phase shift into a musical exploration and expression of self as inspired by place and memory. Produced in Ann's Studio Blue in 2019, the melancholy but life-affirming vibe is rooted in feelings felt during walks around the rugged North Welsh countryside. Mixing field recordings of her surroundings with her impressionistic solo piano translations of the sights and sounds of Wales' ancient landscape, the finished article most subtly bridges the physical and imaginary with a painterly sensuality. The results firmly fall into a long and enduring field of music from these septic isles inspired by its pastoral wilds. Like many before her, the landscape's palimpsest of stories inspired by and accreted in its hills, rocks, water and sky urge Ann to conclusions that are at once personally poignant but resoundingly familiar, drawing on a shared Celtic heritage and, with it, a pagan appreciation of Mother Earth's natural elements that had previously influenced countless folk, classical, and contemporary works of art. New on Regis's Downwards label. Edition of 300.
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2LP
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DNLP 005LP
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Karl O'Connor's banging Regis 1998 blueprint is back in circulation for the techno ultras. The track list has been reshuffled from all previous versions. The A-side now runs through "Hands Of A Stranger" and the cold pipes of "Disease Through Affection", and is backed with the chewy grind of "Body Unknown" and the tonkin' hustle of "Barriers", while the C-side revolves "Concentrate" along with three hefty locked grooves and the D-side includes "Escape From Yourself" and the panic-inducing trample of "Indifference". It hardly needs to be reiterated but this set includes some of the meanest examples of late '90s UK techno, and more specifically, the Birmingham sound that Regis forged so definitively with this album, alongside efforts by his peers, Surgeon, Female, and Mick Harris. If you weren't party to the original pressing, this one stands out thanks to the remastering, which really highlights the pebbledash grain and clangorous industrial atmospheres of the original recordings, which surely set this record and sound apart from the crowd. Entirely remastered at Dubplates & Mastering and cut with three bonus locked grooves not found on the 1998, 2003, or 2012 editions. Includes new artwork. Edition of 500.
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2LP
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DWN 003LP
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Necklace Of Bites is a vital volley of early Regis artillery sourced from 12"s issued by Downwards c. 1998-2000. Effectively a reshuffle of his 2000AD self-titled CD compilation of 12"-only cuts, it features his Jim Jones-sampling "Solution (Voice)" amid a ruck of prime, dark, and killer late '90s techno girders. Revolving definitively monotone and snaky templates for the Birmingham techno sound forged by Regis (alongside Surgeon, Female, Mick Harris, and Justin Broadrick), Necklace Of Bites is built in the driving, distorted, and highly utilitarian style that spilled out of Brum's Q Club in the mid '90s, and which continues to infect the sets of DJs such as Helena Hauff and Blawan well into 2019. Back before main room techno became meme-ified as "business techno", these tracks were the Black Country shirehorses of peak-time DJ slots across the UK, EU, and the world. Influenced as much by Jeff Mills's Axis and Purpose Maker 12"s and hard-ass Chicago house as original '80s industrial and post-punk, the dozen tracks epitomize Regis's signature distillation of proper, blue collar club sounds, made for those who like to play hard and all night, and as such they're future-proofed for use over 20 years later. In particular, the set highlights Regis's hypnotically sexy and arguably rare use of vocal sampling in the inexorable, militant charges of "Execution Ground", "Baptism", and "Purification (Endless)", while his use of a muffled Jim Jones sample on "Solution (Voices)" predates his use of Jones in BMB by half a decade. More to the point, the compilation also holds precious DJ tool bruisers in the likes of his lip-bitingly infectious roller "Wound Us", and the industrial galvanics of "Adolescence" and "Rites" that still kill in the modern day. Newly remastered and vinyl cut at Dubplates & Mastering. Edition of 500.
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2LP
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DNLP 025LP
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Karl O'Connor (Regis) rallies the Downwards troops for the odd family portrait of Let Love Decide, including the first new Concrete Fence collab between Regis and Haswell since that killer PAN hook-up (PAN 039EP, 2013), plus all new and exclusive tracks by label staples Mick Harris, Nick Dunton, Simon Shreeve, DVA Damas, and Karl Meier, plus Rachel Aiello's Layne, and Khrone/Mjolsness (Male) and various appearances by Regis himself in different formations. Cutting across the face of the label, Let Love Decide Pt. 1 is the first part of Downwards' contemporary portrait series aligning veteran hands with the new class of mutant industrial disciples. The nine tracks include a strong clutch of exclusive projects such as the EBM supergroup You Hung -- a quartet of Nick Dunton (vocals), Jim Siegel (drums), Simon Shreeve (live mix and Studio), and Karl O'Connor (synth) -- and Karl & Ken Meier's "ambient" alias Obelus, cued up beside previously unheard Fret gear by Mick Harris and a Cub collab between Karl O'Connor and Simon Shreeve, to highlight the label's strength in diversity and shared purpose. Naturally, the label kingpin Karl O'Connor is a constant throughout the compilation, a connective ligature that ties the slurred slow techno of Cub's "Teenage Fists" to the live band EBM praxis of You Hung, where O'Connor's synth underlines Krishna Goineau-styled vox by Nick Dunton (65D Mavericks) and the gnashing drums of Jim Siegel (Raspberry Bulbs), as well as the welcome reappearance of his Concrete Fence duo with Russell Haswell in a sharp cut of pranging industrial funk that sounds like vintage Autechre, chopped and skewed. Following his turn in Cub, Simon Shreeve also weighs in his powerful studio pressure on the soggy, gothic lurch of "The Space Between Cultures", while Mick Harris ramps the distortion on a ravenous Fret cut "Helicopter Rig". The rest is essentially a showcase of the label's American ambassadors, taking in the scuffed modular dub brawl of "Scale Reference" by Karl & Ken Meier's Obelus beside Layne's blank-eyed swagger, and a stark shot in the ambient unknown by Jonathan Khrone & Benjamin Mjolsness (aka Male), while L.A.'s DVA Damas stretch out across the D-side on a stripe of sexy darkwave-techno rolige. Mastered and cut to vinyl at Dubplates & Mastering, Berlin. Edition of 500.
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2LP
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DNSKER 003LP
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Sam Kerridge teams up with DVA Damas' Taylor Burch in The Other, a narrative-structured collaboration set to an absorbing contrast of seething electronics and technoid impulses riddled by droll vocals in billowing negative space. Opening his sound up to mutual spirits, and allowing more space and time for his sounds to take hold, The Other locates a newfound sense of maturity and sensuality in Kerridge's music. His arrangements here feel more layered and ductile, finely consolidating the gloomy slow pressure of his earliest work for Horizontal Ground with the uptick in pace and rabid energy found on The Silence Between Us (LIN 076EP, 2017) and The I Is Nothing (LIN 078EP, 2018). The adaptation is necessary as the music now accounts for half of an AV live project with Daisy Dickinson and also needs to accommodate Taylor Burch's low key vocal delivery. In the process Kerridge is pushed to rethink and more subtly reframe his sound after seven years squashing and pummelling listeners into submission. As Taylor takes center stage in the narrator's role, Kerridge becomes a kinetic presence, either navigating her through the tightest channels between industrial techno, depth charge drum and bass, and dark ambient, or setting her in the starkest sonic lighting and backdrops like a dramaturgist watching from the wings. Kerridge's impulses are still aggressive, but he's clearly taken the opportunity to step back, review his sound, and recalibrate the mechanics, returning industrial music back to a multi-sensory conception of theater. Thus, The Other, rather than being straight-up sensory immolation -- which is still key to his music -- is tempered and balanced with more complex ideas in mind. From the hybrid of icy vox with billowing tech-step bass and scudding percussion in the opening piece, through the finely-executed nods to classic mid '90s Autechre and AFX in Transmission 5, to the hyper, side-winding brilliance and synapse-firing intensity of the final Transmission 7, longer term followers of Kerridge's work will be rewarded in spades with this thistly bouquet, while newcomers will be left reeling and sure to dive into his swelling catalogue. Mastered and cut to vinyl at Dubplates and Mastering, Berlin. Edition of 500.
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12"
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LIN 082EP
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Techno mutant Oliver Ho invokes divine noise with hypnotic industrial psych-drone project Slow White Fall for Regis's Downwards label. "A Blinding Light" sees booming drums and slavish hi-hats mix with electric blue raga drones, resonating with everything from Tony Conrad to Clay Rendering, before "Releasing Together" locks into a tantric vortex sounding like a duel between TG and John Carpenter. "Slate" returns to amp worship with sanctifying slow riff distortion, while Ho's plaintive vocals interject the sludgy crawl of "Our Eyes", and "Vein" sounds like he's repeatedly stabbing a live 1/4" jack into industrial rock's beached and bloated corpus.
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LP
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DNLP 024LP
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Environment is My Disco's uncompromising album of avant-industrial and synth despair for their staunch allies at Downwards. It was written and recorded during winter in Berlin, 2018, in a studio previously used by Einstürzende Neubauten, Keiji Haino, and Pan Sonic, and channels those heroes' uncompromising aesthetics into a radical departure from the band's previous releases, leaving behind gnashing guitars, cold metallic percussion, and gloomy pads reverberating in derelict, factory-like space. Gutting out the driving, math-y repetition of their prized early work (2010's Steve Albini-produced Young/You (PTYT 053CD, 2010) is a favorite of Karl O'Connor/Regis), the Melbourne-based trio now recall the ungodly offspring of Raime and Swans, operating with an increased appreciation of space, rhythm, and tone that will shock even the hardest to please explorers of avant-rock and industrial fault lines. In no uncertain terms, its eight tracks plumb the depths of a foul mood, strafing thru a series of antechamber-like stations like some inelegant beast encumbered with clanking manacles and ankle restraints. Thanks to the visceral, vivid nature of the recording and production, the devil lies in the synaesthetic sonic/visual detail, riddling a mostly wordless narrative that perfectly says it without saying it. Biting down first with the jagged metallic klang and gnawing drones of "An Intimate Conflict", the album continues to fetishize both bleeding-raw and cinematic themes through the torture chamber ambience of "Exercise In Sacrifice", and the red-lining tone poem "Act", leading into belly of the beast bass growls on "Rival Colour", before the dissonant, keening might of "No Permanence" calves off into a closer to end all closers, with the band's Cornell Wilczek feeding Buchla Easel tones into the empty tank strikes and fetid atmosphere of "Forever" with a febrile effect worthy of Rainforest Spiritual Enslavement. By any measure, Environment is one of Downwards' most singular albums, and a must-check for disciples of proper, unheimlich sonics. Mastered and cut to vinyl at Dubplates & Mastering, Berlin. Edition of 500.
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12"
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LIN 081EP
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The mercurial, industrial pop fetishism of Raging Tender forms the third and most impressive EP from producer Jan Grebenstein and vocalist Christine Seefried. "Raging Tender" zips up fanged arps and needle-toothed hi-hats under Christine's close mic'd vocal with hypnotic poise and force, before "Breathe" diffuses and unlocks that anaerobic tension with tantric 808 rhythms. "Arab Icon" raises the heart rate again with jarringly atonal electronics and an unyielding rhythmic grip, while "Body Electric" speak to the duo's most prurient desires, with Christine's opiated, any-hole's-a-goal mantra of "I Sing The Body Electric" set to knackered, bummed-out pads and oozing bass.
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CD
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BMB 002CD
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Regis and Surgeon's pivotal British Murder Boys, one of techno's greatest, shake up and recombine bleeding edge contemporary techno with provocative, enduring industrial inspirations from Throbbing Gristle and Coil. Cutting across the face of their catalog, from the incendiary opening sample of Jim Jones used in "Hate Is Such a Strong Word", through a crunching iteration of "As Above So Below", and back to their definitive early statement "Don't Give Way To Fear" via various hacked and processed BMB components, the decorated veterans invariably make mincemeat of the shouty dilettantes who have committed to this arena in recent years. Karl O'Connor mans the mic, swaggering around Anthony Child's shredded drum patterns and egging on the intensity, but also knowing when to wind his neck in and stop short of the sort of the showboating industrial clichés that drove dancers from industrial to techno in their droves during the early-mid '90s. In essence, the decorated veterans' sense of seething restraint, coupled with deadly conviction and technical expertise, makes Fire In The Still Air a definitive BMB set for the ages, one ready and willing to trigger a riot anytime. Just don't call it a comeback. Recorded at Berlin Atonal 08/24/18. CD comes in six-panel digipak.
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12"
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LIN 080EP
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Pivotal, peerless DJ/selector and Minimal Wave overse'er Veronica Vasicka serves her solo debut on Downwards with In Silhouette, a dank industrial-pop workout recorded in 2004 and now issued for the first time, backed with sick remixes by Regis, Paul Kendall, and Robert Hampson in his lesser-spotted Chasm alias. Penned on analog synth and four-track tape recorder in 2004, one year before Veronica established the Minimal Wave label, the ripped metal textures and spectral vocals of In Silhouette forms a rare snapshot of her daily, diaristic working practice.
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12"
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LIN 079EP
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Downwards offer a new EP from Karl O'Connor, aka Regis, reviving his cult CUB project with Simon Shreeve, aka Mønic now in tow for Seeing From Above, three stripes of dark ambient techno. The original pair of CUB 12"s worked at an unusual 113 BPM flow and included remixes from Ancient Methods, whereas this release features reshuffled personnel and a broader range of tempos while remaining true to the original, grungy CUB aesthetic. With Shreeve on board, the pair initially push the tempo for a roguish shoulder-barger before returning to the project's slower tempos on the second side.
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12"
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LIN 078EP
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In pursuit of hardcore techno ballistics and mutant metal alloys, The I Is Nothing marks five years of Samuel Kerridge releases on Regis' Downwards. Serpentine stinger "Silent Notes" is a roiling combo of EBM drums and divebombing Reese bass, while "Fascination Sustain" strips down to a scudding sort of electro-techno IDM pressure recalling Oberman Knocks or Bitstream's Adapta gear. Isis frontman Aaron Turner infects "Propagates Of Desire" with masochistic lyrics buried deep in Kerridge's matrix of recoiling EBM kicks and Stuka synth drones, then "Actuality Repeats" stretches out in a hollowed sphere of 150bpm electro and spectral gloom.
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LP
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DNLP 012LP
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Regis's Downwards label presents an album of heavy-hearted industrial songs from Ora Iso, making a kind of windswept, slowed-down, and gothic pop variant that's essential listening if you're into HTRK, Tropic Of Cancer, or Clay Rendering. Ora Iso are an NYC-hailing band revolving around Indonesian-Australian, Kathleen Malay and New Yorker, Jason Kudo. Building on the rubbly ground of their Bathcat debut for Ba Da Bing! (2014), the duo's mutual sense of entropy and ennui results in a classically scorched sound in Image Certifies, one laced with scornful sarcasm and a general dissatisfaction with the world, and yet somehow bolstered by the slightest promise of hope. Weighing in their heavy, bleeding hearts on ten brittle dirges described by the band as "A love letter to a society dying of its own self-induced cancers", Ora Iso play to Downwards' most maudlin aspects with a sound that clearly resonates with their previous releases by Eyeless In Gaza or Tropic Of Cancer, but here blessed with a strung-out, unyielding, and lugubrious quality they can surely call their own. As will become patently obvious, Image Certifies is not a record that takes itself lightly, and when the mood is right, the blend of Kathleen Malay's stark, cracked, gothic vocals with Jason's Kudo's cranky as hell Vainio-esque instrumental backdrops is a perfect accompaniment to moments of introspection and misanthropy. From almost BM-styled beginnings on "No Fish", their agenda becomes apparent as it grows into a slow rolling fog of distant, evocative vocals wailing worn-out nothings about "the future" and "the children" in an effortlessly sensuous and blank-eyed style that worms through the record, peaking in highlights such as the jagged "Dead Riot", and the folksier trudge of "Pour It On Me", whilst the bollocked drums of "From The Hallway To The Door" and the exquisitely succinct "Have I Gone Too Far?" packs a more gothic electronic crunch recalling NIN or Clay Rendering. Cut by Christoph Grote-Beverborg at Dubplates & Mastering.
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12"
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LIN 076EP
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Sam Kerridge launches a major rethink of his style with high-velocity tempos and a razor-toothed bite. Toiling somewhere between Ueno Masaaki's Vortices (R-N 117EP, 2014), the pitching pelt of La Peste for Hangars Liquides, and the machine convulsions of Somatic Responses, he goes balls-to-the-wall with the breakneck momentum of "Possession/Control", harnessing reverse-edited kicks, helter-skelter EBM bass, and spectrographic noise. Knotty, strobing pulses keen through empty stomach inversions and bursts of tangled EBM synths on "Ascension", whilst "Radical Possibilities Of Pleasure" sounds like a field recording from a French hardtek invaded by dildo dibble in choppers.
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2LP
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DNLP 002R-LP
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For the 21st anniversary of Regis's pivotal debut album, the Brum techno overlord has remade the scene of the crime from original stems and salvaged 8-track tapes. The unyielding results effectively present a doctored version of his seminal -- some may say game-changing -- record, featuring new studio versions and unreleased sequences. It's basically a stronger, fitter version of his most prized LP, loaded with sounds as brutally functional as the city which birthed them. Originally recorded in September 1996 in Room 406, Digbeth, Birmingham aka Scorn's studio -- sandwiched between Tony De Vit and Broadcast's recording spaces -- Regis used one drum machine, one synth, and one FX unit to nail home a back-to-basics approach to techno; one inspired as much by the direct immediacy of Chicago house as the febrile DJ sets of Jeff Mills, but also drawing a crucial "X factor" from his background as a bit of a hooligan, with form in a number of post-industrial, EBM, and punk units. When Gymnastics first hit the 'floor, it was considered shocking anathema to the swell of manicured, proggy arrangements which were by then dominating the spotlight of British dance in clubs and the media. It was loopy, stripped-to-the-bone, and shark-eyed, always moving forward and without the faintest recourse to melody or harmony -- simply reveling in the gnashing tension and swerve of raw, clattering drum machines, and monophonic synth jabs. Big Beat or trance it fucking well wasn't. 21 years later its lip-biting force is now felt stronger than ever. From the grumbling refusal of "We Said No" and the austere wall-banger "Allies" that boot off the album, through the 16th note nag of "Translation" to the rictus jag of "Sand" and the metallic bite of "The Black Freighter", this is timeless, primal dance music that still causes friction wherever it's deployed. James Brown is dead. Long live Regis. New reworked artwork (original featured the Twin Towers photographed in 1996). Remastered and cut by Matt Colton.
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12"
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LIN 075EP
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Regis compiles a killer Downwards label survey for 2017, featuring exclusive new material from DVA Damas, Autumns, Grebenstein & Seefried, and Layne, veering from dank EBM to collapsing industrial structures. Downwards send their new vanguard on road with The Immortal Eye; the mood is intensely depressive and pessimistic throughout, but, in the classic sense of gothic industrial music, the impeccably maintained atmosphere conversely acts as comfort or redemption to those need it.
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12"
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LIN 074EP
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Grebenstein present a highly stylish, unrepentant brace of drum 'n synth noise pressure on Strong Proud Stupid And Superior. On side A, Grebenstein harnesses the starkly detached vocals of Seefried in a slow demonstration of detached cold wave, with a narrative arc that encompasses intimate confession and paranoid internal impulses. The more texturally rich and aesthetically subdued side B features Joscha Bauer and starts with the swelling drone discord of "Grauer03". "Grauer04" sounds like Cut Hands slowed down by 1000%, inverting the aesthetic to a far more impending sort of stygian doom. RIYL: HTRK, Raime, Fever Ray.
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12"
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LIN 073EP
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Unfeasibly tight Aussie post-punk trio, My Disco take a proper pasting from Regis and Lustmord in remixes of "Our Decade" and "1991" from the Severe (2015) LP. Severe was issued to underground acclaim, providing a shocking reminder of the trio's minimalist tension and vitality. Taking on "Our Decade", Regis masterfully eviscerates the original's drawling gothic vox in favor of white hot sheets of processed, coruscating guitar whilst the groove is brought right up front. Lustmord's take on "1991" is a gravely greyscale and super-wide overhaul perfused with curdled vocals and stark drums, like something out of a Scott Walker storyboard.
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12"
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LIN 072EP
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Simon Shreeve, the gifted producer behind Mønic and Kryptic Minds, offers four tracks of stare-down half-step techno with Lust Product EP. The rugged manifest in the cement mixer churn and deathly groan of "System Living" leads to the Fishermen-esque, slow techno-meets D&B-on-33 grind in "Silver Sun". But when he steps aside from the 'floor into more esoteric headspaces and themes, he really proves himself a master of cinematic tension, recalling the most funereal rituals of Cut Hands in "Lust Product" and the sweeping low register string arrangement , quasi-speed doom dub zones of Raime in "External Laws".
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12"
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DNSDVA 003EP
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The four songs on Clear are full of with asphyxiating bass pressure, camouflaged in stringently minimal-yet-rudely physical electronics. The sullen, ætheric swagger of "Clear Cut" carves up from the front, placing Taylor Burch's gaunt vocal in acres of warehouse space for 10 minutes. "Do I Dub" sutures the wound with sheer bass pressure alone. "In The Clear" has a stylus troubling sub-bass molded into a dead-eyed, grinding come-on. "Clear Cut" reappears in a truncated Radio Edit upping the techno canter and condensing the vox for closer, cocksure effect.
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12"
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LIN 070EP
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Healing Bowl forms Simon Shreeve's debut release under his birth name after his work as part of Kryptic Minds and his techno-leaning solo output as Mønic. Five pensile, nerve-pinched pieces defined by finely sculpted bass, shivering percussion, and cranky concrète processing. "a/sa" sets a crypt-like tone and spatial setting that bleeds thru into the title-cut before "a thousand and one" locates and locks into a dank pocket of plasmic bass and spectral vocal recital. "sharada" follows with a ghostlier pallor before the elusive, entropic sound design of "s/ka" seems to invert techno and D&B dynamics with vampiric lust and romance.
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2LP
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DNSKER 002LP
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Kerridge returns to Downwards in 2016 with the custom-built electronics of Fatal Light Attraction following 2015's incursions on his own Contort label. The project premiered at Berlin Atonal 2015 with Kerridge working alongside Andrej Boleslavský and Maria Júdová to create an intense, kinetic shadowplay synched as a counterpart to the music and performance. As Kerridge's third long-player, Fatal Light Attraction marks a more fluid -- or effluent -- refinement of his sound, blurring the boundaries between organic audio sources and custom-constructed synths to flood the senses with waves of bristling, oxidizing industrial tones and coruscating texturhythm seemingly intent on separating flesh from bone. It's evil stuff, all seven tracks of it, forming a closed feedback system of guttural, choking frequencies and arrhythmatics. Mastered and cut by Matt Colton at Alchemy. Edition of 500.
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