Armstrong, Craig: The Space Between Us (Melankolic/Virgin)

Massive Attack’s own Melankolic label presents studio wizard and new alchemist of piano-n-drum, strings-n-beats mood music Craig Armstrong. In this lush setting is the mellifluous voice of Elizabeth Fraser, formerly of the Cocteau Twins. Classically trained in England back in the 70’s, Armstrong’s Sweeping orchestrations have appeared in film, TV and the albums of artists diverse as U2 and Future Sound of London. Live orchestras are employed in the making of this, Armstrong’s first solo album. Craig not only arranges the pieces for orchestra but also conducted the recording sessions. On The Space Between Us, plush sounds like those of the Fraser showcase piece "This Love" alternate with edgy, dark instrumentals like "Sly II." "After The Storm" is another side of the man and this work that of a bold, techno backbone used to fuse together romantic, sparse piano and string melodies. Armstrong began mating sounds into this hybrid back in the 80’s. At the same time, he made forays into pop music collaborations. His experience and ability gives him the sensibility to combine artfully such pop electronica notions and film score techniques into a moving and solid album of textures, evocative soundscapes and hip, contemporary music dialects. -Tom Schulte

Attrition: The Jeopardy Maze (Projekt)

Quite an impressive addition to their extensive discography. Attrition have the strange ability to contradict themselves with aggressive grumbling electronics and classical influences with female vocals. They do this in an inticing way, and their musical talent is clearly evident in the tight compositions. They don’t get cliche or typical, but they keep a varied collection of music while keeping it enjoyable to listen to. Attrition show that experimental doesn’t mean senseless.

[http://www.projekt.com/bands/attrition/] [attrition@jwaller.demon.co.uk]

Auburn Lull: Alone I Admire (Burnt Hair)

The ethereal, organic immersion sound of Auburn Lull has been compared in print both to Mahogany and Slowdive. Auburn Lull shares members with that group and Mahogany's Andrew Prinz supplied samples and production to Alone I Admire. Prinz further appears on piano and bass synth besides doing some singing. Drum machines (augmented by kit drumming and other percussion) provide a stable background to a dense swirl of guitars and singly mostly by Sean Heenan. Additional instrumentation provides valuable texturing as in the cello featuring space oddity of "Old Mission." The constant expansive, slow tempo paints the picture of a dozing giant in autumnal repose passing from one dream of monstrous bliss to another. -Tom Schulte

[POB 5519, Dearborn MI, 48128] [BurntLarry@hotmail.com]

Ben Wa: Devil Dub (Black Hole Records)

Ben Wa is a two-member electronic music programming group of Butthouse (bass) and Dr. Ware (keyboards). The pair appeared on a couple of Bill Laswell compilations and produced/engineered Godflesh’s Songs Of Love And Hate, among other things. Here three members of Praxis, namely mystery post-heavy metal experimental guitarist Buckethead, beatmaster Brain (Primus) and devilish turntable maestro DJ Disk (Invisibl Skratch Piklz), join them. They say there are two things that always sell; sex and Satan. Devil Dub combines the both in the languid sensuality of rhythms inspired by fusing Lee "Scratch" Perry with the sonic comfort Bill Laswell and the dark demeanor of Old Scratch himself making cameo appearance of voice and spirit. A wholesome thirteen tracks later and you will be ready to hear the whole thing again, with the lights down lower. Ben Wa’s grim dub laboratory is offering the unholy sounds of dark deeds that feel good. Foreboding sound bites make suitably sinister signposts en route to a sampled Witches’ Sabbath of guitar echoing from here to Limbo and beats as heavy as Sisyphus’ stone. Openly thanking LSD in the liner notes, the minds behind Devil Dub offer a subtropical cruise to the Abyss that could be déjà vu for the psychedelic tourist but still a safe alternative for both. -Tom Schulte

[1145 65th St. #L, Oakland CA, 94608] [http://www.sirius.com/~beale] [beale@sirius.com]

Capper, Beth: Complimentary Mood Enhancer (Win Records)

Ms. Capper (SFTRI's Oiler, Fleabag) can't get enough of vocal effects. Dense with distortion, reverb and sonic mutation, she is rough-toned siren calling hauntingly through a sea storm of clashing guitar waves beating out a rhythm against solid drumming which goes lustily on, in spite of all the commotion. On some cuts, like track ten (can anybody tell me where a track listing is on this sample of cardboard origami!?) she comes through, singing naked as it were. The result is as honest and non-musical as a wanna-be pop start teen singing in her bedroom into a jambox. But, the meat on this plate is laced with the gristle of tortured sounds and transmogrified guitars. Feel the rough texture of every note and ruminate hard on the accompanying comic book (by Capper) where one woman circles the drain at the bottom of a cesspool. Music? Commentary? Both? You decide. -Tom Schulte

[POB 26811, LA CA, 90026-0811] [http://www.winrecords.com] [winrecords@aol.com]

Decoded Feedback: Bio-Vital (Zorth Ommog/Connected)

What do we have here? A band from Canada...from Canada came a lot of good bands, and Decoded Feedback are really no exception. Perfect electro in its purest being although they steal samples from bands like Leaether Strip, Front Line Assembly and Mentallo & The Fixer but they created their own style with the "stolen" material. Examples for the brilliance of this album: "Bio-Vital," "Breathe," and "God Sin." Whoever is fond of FLA has to buy this album. Lacks with this CD are: Dear Torben of Zoth Ommog...please put more money in the mastering of CDs next time; this one just sounds dull, a shame for such a great album (it was also like that with the Realize The Error CD by Dark Illumination). And the remix of "Corrosion" by Lights Of Euphoria is not worth mention. The whole feeling of this album is blown away with it. -sacho27033@aol.com

[http://www.zothommog.com/]

Dementia Simplex: Yeah, I Killed My Mama... (Off Beat/SPV)

Finally this album is released after 3 years waiting for it. Titled as the electro-smasher of last year in all label-advertisements, I really have to admit it is a very good album, very alternating and produced very well with great samples... But for the title "electro-smasher of the year" there is still the last kick missing. Dementia Simplex also do not have the strong Skinny Puppy influence that they had in the past. They are creating more and more of their own style. The repertoire of the band ranges from genious electro-sounds to crossover-sounds...also, it has to be said that this album opens itself to the listener after several listenings. Some fine tracks are "Cry To Heaven" and "Testicle Crack." -sacho27033@aol.com

Dhomont, Francis: Sous Le Regard D'un Soleil Noir (Empreines DIGITALes)

Creative in the possibilities of sound recording, French-born composer Francis Dhomont put together the material on this album between 1979 and 1981. He is both a scholar and innovator of that field of recording experimentation called across the Atlantic "electroacoustic composition." These eight pieces become episodic as periods of French spoken word, sweeping electronic sounds and musical instrumentation alternate in

subtextually related segments. These transforming works of tape manipulation are shape-shifting phantoms of sonic ectoplasm. Amorphous and unpredictable, they become philosophical mantras, as in the repeating "I'm an individual" of "Le moi divise (The Divided Self)," framed in alinear, unexpected aural pathways. The title translates as "Under The Glare Of A Black Sun" and in Dhomont's surreal 'acousmatic' world common themes as a monologue (here, the reading in French of psychiatrist R. D. Laing) and a murmuring crowd take on strange and wondrous implications when treated and placed in succession. A single recurring note (B natural) serves to bind each piece to its predecessor. If reality is only our perceptions, than a change in our perceptions can alter reality. Through mesmerizing repetition contrasted with jarring polyphony, Dhomont artfully serves to make the common and real uncommon and unreal. Soleil Noir becomes an intrapersonal voyage. Follow along the provided English translations and take a Conradean journey into the peculiar, dark universe at the heart of each human being. -Tom Schulte [http://www.cam.org/~dim/] dim@cam.org

Diverge: Existence/Program Remix (DSBP, 1998)

Diverje is definitely a weird band, clashing some of the most outlandish sounds and beats into a wonderfully experimental album which is both dark and playful at the same time. Simple keyboards and elementary beats are commonplace here, but never to be underestimated. Through the oddity and and the thick cloud of incoherence one may find a light at the end of the tunnel. This is where the remix half of the album comes in. Some of Industrial’s finest low profiles, including Razed In Black, SMP, and Testube (to mention a few) serve up polished remixes making the CD climb to a huge 20 tracks. For 12 bucks, I’d say the rmixes alone were worth it, but what a deal, you get the Existence album to boot!

[http://www.dsbp.home.ml.org]

Dorothy: Headrush In Ohio (WickedWitch Records)

This a a great 45" that I received from independent artist Jeremy Moss. He seems to meld aspects of "digital hard-core," experimental-Industrial, high distorted vocals, a bit of electronica and other things that defy categorization; he sounds pretty original. Hard to judge on a 2-track 45", but I think it sounds pretty cool. Email him to see what he has to say, and to get a copy of your own.

[dorothy333@earthlink.net]

Fear Factory: Obsolete (Roadrunner Records, 1998)

Taking a relatively more mellow route than previous releases, this album has the typically authentic FF vocals, less thrashing, more keyboards, and a full-speed-ahead sense of focus and direction for this electro-metal crossover band. Sporting the talents of ex-Frontline Assembly member Rhys Fulber, Fear Factory take their music to a new level of production and sound. I'm not saying Fear Factory has changed too drastically, but the difference is an apparent one, and as fans of the darker, shredding side of guitar-based Neo-Industrial music realize that Fear Factory are raising some high tides, they'll hold this album with high regards.

Forest Floor: Manifest and Scrawls From The Unconscious (Tournaline Music)

Forest Floor is an improvisational quartet of multi-instrumentalists, two of which were members of the metal fusion project Theory of Negativity. Their group mind produces on-the-spot compositions that reference jazz, new age, ambient and avant-garde music styles. Each cut is another mood and another arrangement. "We didn’t plan, write, or arrange anything in advance. Everything was improvised, including production." Thus declares the booklet with Scrawls. Still, the admirable result of Forest Floor’s effort comes across as well or better than more preconceived compositions. On Manifest, a variety of sounds accompany a musing shakuhachi over a murmuring brook. All fades out together into a silence that introduces a pair of sci-fi keyboards, the return of the bass joined by the exotic percussion of pueblo drum, zils (chimes) and bodhran (Celtic frame drum). The effect is as if the result was orchestrated. Therein lies the success of Forest Floor’s extemporaneous creations. No player tries to grab the limelight, but instead all contribute their skills on a plethora of instruments toward a holistic vision that is largely cinematic and evocative. Manifest also features "Cold Sun," a meandering, ten-minute plus live track of percussion, keys and flute serenely cooperating. Group member Conni St. Pierre also has available on the label Beneath The Waves, a solo album of atmospheric originals on varied wind instruments. -Tom Schulte

[894 Mayville Rd., Bethel ME, 0421] [http://www.smasheasy.com] [tourmaline@smasheasy.com]

Friendly Rich: Music For Retarded Children Vol. 1 (Scabba Studios)

Friendly Rich has a predilection for innocuous keyboard ditties and samples from movies and captured conversation. The over-all effect is the inside joke of dweeb production by dweebs for dweebs. It comes as no surprise that dweebs are featured prominently on the artwork. Music... is fifty minutes of home-produced goofiness that is noteworthy for its unabashed immaturity, simplicity and weak sense of humor. Undoubtedly, then, Friendly Rich is destined to become a cult hit of great longevity. -Tom Schulte

[16 Peachwood Pl., Bramalea ON, L6S 3Y9] [http://www.scabba.com] [friendlyrich@hotmail.com]

Front 242: Headhunter 2000 (Metropolis)

17 tracks based around one Front song that isn’t even their best is ridiculous. 17 remixers tear up Headhunter to the point where you’ll never want to hear it again, and some are so far from the original you’ll wonder what the point was anyway. Most of the remixes are fairly bland techno-drone pieces with exceptions few and far between. The better remixes include those by FLA, Haujobb, Leaether Strip, and Apoptygma Berzerk.

[http://www.metropolis-records.com]

Frontline Assembly (FLA): RE:WIND (Metropolis Records, 1998)

Love them or hate them, Front Line Assembly helped to create the genre known as EBM. However, after the Plasticity single Rhys Fulber, the duo's "other" member, called it quits. There was much speculation as to the future of FLA; and 1997's sub-par effort "FLAvour of the Weak" didn't help to quell these rumors. The new duo of Leeb and Chris Peterson present this two-CD set as their sophomore effort; tackling tracks from FLAvour of the Weak on the first disc, and opening those tracks up to outside interpretation on the second. This is a superb effort which should leave no doubt as to the future of FLA. The first disc hits hard in classic FLA style, the thick electro assault which is their trademark. The second disc features superb mixes by Collide, Fini Tribe, Front 242, Kalte Farben, and Tim Schuldt. Even if you're not a fan of remix discs, pick this up; you won't be disappointed. -Daniel J McCullough

[www.metropolis-records.com] Label@metropolis-records.com

Frontrunner: Stormed Eyes (4D Records)

Frontrunner is a dedicated Brazilian band with lots of potential. Stormed Eyes is a harsh Electro-Industrial endeavor with some original sound and a couple awesome remixes by X On Mind and Deadjump. Some of the sounds on this single are elementary instrumentations, but this is easily overlooked with the better aspects of the music, such as the great distorted vocals, excellent beats and the intuitive use of strange samples.

[frontrunner@uol.com.br]

Frontside: Frontside (Wax Trax/TVT)

Sad. An unfortunate display of bland D’n’B electronica from the great Wax Trax. Very corporate, very glossy, very professional, very contrived, very crappy. If Wax Trax is going to die, let it be from old age and not cancer.

[http://www.waxtrax.com]

Funker Vogt: Execution Tracks (Zoth Ommog/Connected)

Here we have the last work of our hobby-soldiers...it is exactly what we expected Funker Vogt to deliver: old-school EBM with no innovation, perfect for dancing although it is more melodic than on the albums before. It should also be mentioned that the label is too commercial in releasing this CD in 3 different versions: 1 normal edition and 2 limited editions, each with a different bonus track... Some nice songs: "Civil War," "Tragic Hero," and "Voices Of The Dead." -sacho27033@aol.com

[http://www.zothommog.com/]

Godhead: Power Tool Stigmata (Sol 3)

This is a good example of what happens when diverse styles converge under an Industrial-rock umbrella. This disc is varied enough to keep from getting boring, yet is tied together in an ingenious way, making it faithful particularly to the Indie-rock style. Sometimes I notice a submission to a Nine Inch Nails structure, but I also notice a definite style which is completely unique. With harsh harsh and/or mellow melodies, clear concise vocals, occasional distorted guitar, and crafty electronic and keyboard manipulation, Power Tool Stigmata leaves you satisfied without a bitter aftertaste. Godhead is by no means a newbie, and has acquired quite a cult following I understand. This is the first material I’ve heard by them, but I’ll definitely be checking more out by these guys.

[http://www.sol3records.com] [http://www.godheadworld.com] [godmailer@aol.com]

Gooding: Gooding (S3 Records)

This is a limited 6-track vinyl EP, showing Gooding in the true Industrial form, mixing various aspects of different styles on an untraditional base. Similar to Gooding’s later work, but also very reminiscent of such bands as Cabaret Voltaire and Fini Tribe. Try to get your hands on it if you like other Gooding material or if you want something new and different in your aural diet.

Gooding: Winter’s Return (S3 Records)

Another beautiful release by a great artist. Cold concise grooves and melodies meld to make an emotional impression similar to what the title implies. Gooding uses a blend of traditional and electronic instruments to evoke some powerful music in an expressionistic vein. Similar in content to what you might find as an excellent soundtrack, Winter’s Return is great just to sit and listen to for it’s ingenious compositions and deep musical content. Highly recommended.

[www.gooding-s3.com]

Hate Dept.: Release It (Restless Records, 1998)

This 7-track maxi single contains 5 versions of the slamming Aggro-Industrial anthem "Release It," with "Heaven Trails" and "Technical Difficulties." Mixes are provided by DJ Amanda Jones, Charles Hunt of Hyperkinetik, and Empirion. Hard, pounding, danceable beats make you want to get up and run into walls. Clear, smooth vocals are shouted but sane, and compliment the music nicely. Every mix of "Release It" is superb, dimming the non-title tracks, but the production quality and musical quality of all is excellent. Overall, this is a great release that will make you want to slam and grind until you finally shout for yourself, "Release it!"

[1616 Vista Del Mar Ave. Hollywood, CA 90028] [http://www.hatedept.com]

The High Llamas: Lollo Rosso (V2)

The creations of High Llamas composer Sean O’Hagan is quickly being enshrined as the new melody maker, the savior of pop confection. Here, electronica alchemists remix seven pieces. Mouse on Mars supply their take on "Showstop Hip Hop," "Showstop Hic Hup." The result is vaguely funky, vaguely sci-fi; mellow Martian club rhythms. Cornelius remixes "Homespin Rerun." His version is part Jobim and part echobox; box canyon bossa nova. Tim Schneider includes "Homespin Rerun," "Showstop Hip Hop," and "Over the River" in the ambitious "Homerun Ubershow." After being baked into a pie, four-and-twenty chirping birds hold chorus to the beats. Jim O’Rourke’s science turns "Mini-Management" into the relaxed chill-out halfway through the disc. Kid Loco takes his turn with "Homespin Rerun (The Space Raid Remix)," a cosmic instrumental that keeps the nighttime canopy overhead and starry. After a breakbeat remix of "Three Point Scrabble" by "Stock, Hausen & Walkman" (Andrew Sharpley and Matt Wand), The High Llamas finish things off with an alternate instrumental take of "Tilting Windmills" as "Milting Tindmills," an extraterrestrial lounge piece straight form the fountainhead. Lollo Rosso is a fitting tribute to the man that is rediscovering the beauty of melody in a world overpopulated with soulless beat music. -Tom Schulte

[14 E 4th St., NYC NY, 10012]

J mUNdoK: Artichoke (Jack Kettle Records, 1998)

While this CD would by no means be considered "Industrial" by hard-edged boot stompers, I will still fulfil my promise of reviewing all material. Artichoke is the product of J. Mundok (physically ½ of the electronically experimental "Jesters Longevity"), and keyboardist Susanne. Relating to music along the lines of (for lack of a better description) Chris Connelly's "Phenobarb Bambalam," "Artichoke" revolves around acoustic guitar and simple, undistorted vocals. Electronics are kept at a minimal level, more as a textural background to the more "organic" overtones. These are not just "tracks;" they're songs. J mUNdoK is a perfect example of how electronically influenced music does not have to rely on electronics solely as a crutch. My favorite piece is the hidden track, which is nameless as far as I know, but is the most somber and artistic on the disc. [http://members.tripod.com/~jmundok] jmundok@hotmail.com

Jesters Longevity: Fluency (Jack Kettle Records, 1998)

Many electronic musicians create musical expression upon an experimental base, but what happens when the reverse is true? Jesters Longevity gives a 6 track answer to that question. Having an affinity toward traditional music, J. Mundok of "J mUNdoK" and fellow conspirator Dave Bellard unleash the best experimental compositions I've heard from the underground's underground. Some tracks balance on the fringes of noise, while retaining consistency in rhythm and harmony. Intriguing from beginning to end, including the sample usage, this tape is quite recommended for it's freshness and artistic originality. [http://members.tripod.com/~jmundok] [jmundok@hotmail.com]

Juin Star: These Dying Times (Autumn Records)

Part of a rare breed of electronic musicians based in the Hudson Valley area of New York, Juin Star (David Hartrwell) participated in a "Battle Of The Bands" contest that I had attended. Juin Star was the only electronic band in the contest, and in my opinion should have won the competition hands down. To see such creativity and inventive structure within a one-man performance was incredible. Eventually I found the self-released These Dying Times and picked it up instantly, finding a wide variety of sounds within the work. Although somewhat straying from what I’d heard at the live show, JS retained the high quality space/ambient/hard techno feel and eccentric sound usage that I remembered. The first few tracks even incorporated a spacy live element, consisting of strings and female/male vocals. I hate to make comparisons, but a fusion of early Cabaret Voltaire, new Aphex Twin, Chainsuck, and some unknown force which must be known as Juin Star has produced a very nice blend of original sounds and styles.

July: Love Apocalypse (Mutiny Records/Oceanic)

Where to begin! It isn’t often that I receive an album of this caliber, especially from an underground effort. Fusing the most promising elements of Goth, Indie and Pop-Rock, July demonstrate an originality and ingenuity that far surpasses any other I’ve heard in these respective genres. July derives it’s sound from the talents of members Tom Schnorenberg, Al Augustine and Zero, but also from the more eccentric and Goth/Synth oriented member, Fredrik von Hamilton of Vampire Nation. Typical convention is ignored on Love Apocalypse, parting waters for creative, melodic vocals and musical qualities that form a song structure exclusive to July. The bittersweet and harmonious tone of this album corresponds to the band name and album title consistently, further illustrating July’s superior craft, manipulation and focused artistry.

[http://www.hexagonrecords.com/oceanic/july.html] [http://www.hexagonrecords.com/oceanic] [fortify@aol.com]

Informätik: Syntax (Eraser/Nova Tekk)

This album is an absolute highlight that has to be mentioned... Nobody should come and tell me that I did not say anything about it. Informätik managed it to top the 1st album. Best electro with a range of sounds leaving other bands far behind them. Do you like FLA, Leaether Strip and so on? Buy it! Highlights: "Entropy (Syntax Mix)," "Things To Come (War Changes Nothing Mix)," and "Innocence And Blood." -sacho27033@aol.com

[http://www.novatekk.de/indexd.htm]

KMFDM: Agogo (Wax Trax!, 1998)

Agogo is KMFDM’s effort to re-release their rare and unreleased tracks from as far back as 1985. To those KMFDM fanatics that already own the rare stuff and absolutely have to buy Agogo for the unreleased tracks, this CD will be disappointing only because their treasured finds will have lost their value. Antiquities such as Hellraiser 3’s "Ooh La La," the rare original Naive tracks, and a cover of U2’s "Mysterious Ways" from the Shut Up Kitty compilation are well worth it for the less forunate KMFDM collectors who just can’t find the originals. Others who are interested in tracks that never made it to albums will be delighted that there are 4 unreleased oddities, most of which are derived from the earlier, more experimental days of yore. My favorites are "Naff Off," "Mysterious Ways," and "Zip."

KMFDM: Retro (Wax Trax!, 1998)

I never thought I’d see KMFDM do a "greatest hits" album, but they would stop at nothing to end their contract with TVT/Wax Trax!. Every track on this disc is available on currently sold albums. Nothing special to older fans, but necessary for the obsessive collectors. This CD is also good for newer fans that don’t necessarily want to go out and buy piles of KMFDM material. Old faves include "Godlike," "Juke-Joint Jezebel," "A Drug Against War," and "Virus."

[http://www.kmfdm.com] [http://www.waxtrax.com]

Lady Of Darkness: Malady (Snake Hiss Studio)

Ultimately unexpected, off-the-rail electro madness. Much like the twisted mentally deranged soundtracks of bouncy maniacal Super Nintendo games, or from sadistic carnival rides, where the little blue and pink elephants ride YOU. Overall, it's very interesting, although fully un-danceable. A little psychedelia slithers in, reminding me of an electronic version of The Butthole Surfers. The vocals are strangely addictive, but too much of it causes mysterious convulsions and nervous twitches. Cool fun though.

[http://www.alaska.net/~chadde]

Leaether Strip: Anal Cabaret (A Tribute To Soft Cell) (Metropolis Records, 1998)

This 5 track ep is Claus Larsen's attempt to pay homage to Soft Cell. Generally, I say leave songs to their original format lest ye make a fool of yourself, and that still applies, even if you are the driving force behind Leaether Strip and Klute. While Soft Cell lends itself to an electronic/industrial makeover, it just wasn't meant to be; at least not in CL's case. The music itself is crafty as usual (even if it's a little bland in spots), as you'd expect from this die-hard industrialist, but the vocals leave much to be desired. Without being totally unfair, I give Claus credit for trying and for making a tribute to a deserving band. At least he created "Anal Cabaret" on a personal level, and not at the command of a "higher force" which has become quite the fashion lately (wink wink).

[www.metropolis-records.com] Label@metropolis-records.com

Legendary Pink Dots: Nemesis Online (Soleilmoon Recordings) This impressive, moody new release from the nearly twenty-years-old group Legendary Pink Dots starts assertively. "Dissonance" earns its title from an over-modulated crunch of a rhythm married to a reverberated Western acoustic guitar rhythm. Over this vocalist Edward Ka-Spel (now The Prophet Qa'Sepel) intones a surreal tale of incarceration for the criminal that does not harmonize with society. The harsh crunch continues on into an instrumental track, "Jasz" and its glimpses of shards broken from the sounds of piano and saxophone. Before pivoting into mostly more ambient and reflective pieces Legendary Pink Dots is known for, we are treated to the strongest track of this collection. "As Long As it's Purple and Green" is a telling and lucid exploration of a psychotic's inner workings more recited (with a snarl) than sung over a breakbeat and loops similar to those in "Jasz." Again, the self-defined individual finds himself instantly cast out and confined from society at large. The ending is, of course, dissonant. Thus passing the storm, there follows nine selections of Legendary meditation mixed with some upbeat numbers like more breakbeat and horn in "Zoo" and the heavy metal

guitar in "Is it Something I Said?." Of these, "Ghost" begins in the tranquility of an electric piano melody to breed the sanguine looped chant "blood on the door/blood on the stairs," "A Sunset for a Swan" is perhaps

the most quirky, sounding as it does like a New Orleans street band singing Syd Barrett poetry with electronica/carnival production. -Tom Schulte

[http://www.soleilmoon.com] [http://www.staalplaat.com] info@stallplaat.com

Mainsthai: Out To Lunch (Metropolis Records)

Nothing short of incredible, Mainsthai is the philosophical, socially-conscious experimental side project of Gary and Dwayne Dassing of Mentallo & The Fixer with vocalist Michael Greene. Mainsthai is a conceptual album, ideally intended for live performance, yet it has the extraordinary quality of being both disturbing and absorbing. The music itself has obvious connections to previous works of the Dassing brothers, but has a distinct style seemingly created to sustain Maisthai alone. Unnerving, distorted vocals create the disturbing half of the album. Sometimes speaking, sometimes shrieking, Michael Greene force-feeds thought on a personal level based upon social and internal struggles. Original in intent and creative in concept, this CD is a great testament to modern industrial music and cannot go unheard.

[www.metropolis-records.com] Label@metropolis-records.com

Mankind Liberation Front: Center Of The Universe (Sol 3, 1998)

Center Of The Universe is a prime example of what an Alterna-Rock influence will contribute to a bouncy electronic frame of reference. The vocals are focused and fun, but become rather repetitive...especially as a single track repeated only slightly changed for almost 20 minutes. This single contains 4 versions of the title track, which tends to get stale after the first 10 minutes. Taken in short measures, this CD is a great club-jumper, but I recommend the full length MLF, in which the vocals remain relatively repetitive and unvarying, but the music keeps a nicely recharging quality in each song.

Mankind Liberation Front: Sampler/Snippets (Sol3, 1998)

This is a mini sampler tape that has 1½ minute snippets of the songs "Center Of The Universe," "Dopedreams," "The Tens," and "Karma Konvention." Also included is the full Smack 3000 remix of "Center Of The Universe." See the review of Center Of The Universe above, or check out their full length, MLF.

[http://www.bugjuice.com]

Maximum Coherence During Flying: Maximum Coherence During Flying (In-Phase Records)

Maximum Coherence During Flying is large enough ensemble to produce an impressive variety of sounds; three vocalists, two guitars and bass, keyboards, percussion, synth and saxophone. Still, outnumbering are their eleven guest musicians. Including cello, bass, voice and percussion, these guest musicians give Maximum Coherence eight wind instruments to work with from flute to tuba. Still, the arrangements tend to be spacious and airy, evocative of the island-spotting air flight depicted on the cover. As such, the recording recalls the early atmospheric Pink Floyd (Atom Heart Mother, Mettle, etc.) and due to the inclusion of female vocalists Sonya Shaw and Jenny Parker there is a connection to that criminally under-acknowledged 70s art rock project Curved Air. The combination of these diverse sounds and integrity-laden referents alone is enough to make the album worth listening to. But, Maximum Coherence does not stop there and adds to the mix samples and sound bytes that adds continuity ("coherence") to this story-like overview of a strange land. Flying over this odd locale, we are invited to consider a metaphor of flight ("Zoom"), lethal demons ("Piggymossum," "Primogenitaur") and apocalyptic visions that question the nature of God ("Crusade IV," "Sterile Hands"). Maximum Coherence is a weird, dangerous and uncanny journey that makes maximum use of dark, poetic lyrics and intelligent, economic and soundtrack-like use of basically a small rock orchestra. -Tom Schulte

[3302 Hemlock, Austin TX, 78722] [http://www.maximumcoherence.com] [myy@maximumcoherence.com]

Medusa Cyclone: Mr. Devil (Third Gear Records)

Including only two tracks with vocals, this largely instrumental album builds a gritty, floating world out of interweaving, disembodied guitars. Huysmans offered a re-analysis of dust in La-Bas saying "dust isn't a bad thing. Besides having the taste of ancient biscuit and the smell of an old book, it is the floating velvet which softens hard surfaces, the fine dry wash which takes the garishness out of crude colour schemes" Medusa Cyclone similarly employs the grainy texture of slightly distorted guitars and machine

effects. Blending together these roughened sounds with mysterious, ominous voices into a deliberate, plodding delivery produces a foreboding, sinister sound. It is easy to imagine the slow, abandoned tumble of a disabled spacecraft in deep space. Knowing Medusa Cyclone's Detroit origination and noting the CD booklet's photography, perhaps urban ruins and B-movie entertainment conjurs this mood for Medusa Cyclone. "Mr. Devil" is a languidly diabolic take on psychedelic free rock; space rock from a gloomy planet. Occasionally, as on the three-guitar "Hypnosis Take," a glimmer of a hopeful melody struggles through the obsessively morose loops and rhythms. This lo-fi solo project of Viv Akauldren keyboardist Keir McDonald fits in well with Spacemen 3, the earliest of Pink Floyd and Current 93. -Tom Schulte [info@thirdgear.com] MedCyclone@aol.com

Mentallo & The Fixer: No Rest For The Wicked (Metropolis, 1998)

Being the collection of M&TF's unreleased material from the 1990-91 period, "No Rest For The Wicked" is a visit to the inner artistry of Gary Dassing. Although this collection wasn't intended to be released due to it's personal nature, it somehow made it's way to the shelves. I'm glad it did! 2 CD's of pure, dark, bewitching electro, 25 tracks total, with early versions of our Mentallo favorites is something that no fan could pass by. The title accurately describes every facet of this set, even down to the artwork. Evil, destructive beats wrap around sinister and sometimes gothic keyboards and samples, creating an atmosphere which only could have been inspired by the turmoils within Gary Dassing's mind at work. If you already have the other M&TF releases and are longing for more, or you loved the off-the-path sound of "Continuum," "No Rest For The Wicked" will not disappoint you. [www.metropolis-records.com] Label@metropolis-records.com

Miller, Robyn: MYST: The Soundtrack (Virgin Records/Cyan Productions)

Robyn Miller, composer and performer of the "MYST" soundtrack, is also the originator of the previously released "RIVEN" soundtrack. As the point of the game is an exploration of a surreal landscape and equally preternatural people, the D'ni, Miller is providing the game with necessarily evocative soundscapes when they prove arcane, ominous and otherworldly. Long, fluid melody lines are matched with Classical sounding harmonies. The synthesized sounds and arranged samples include the deep, dry drums of exotic and dangerous cultures, the metallic percussion of found objects and the string sections and piano/harpsichords of Classical music. The underworld beauty of this mythical, advanced and subterranean civilization is given vivid life in these picturesque ambient tracks that are as dark as they are imaginative. Typically, a hypnotic, simple rhythm is given color by short, synthesized

bars of viola or cello. The tracks of the Stoneship Age suite feature flute sounds for an Eastern, World Music feel. These alto and contralto sounds are bright enough to bring to mind the expansive, open spaces of this vicarious travelogue, but sinister enough to suggest questions with difficult answers. -Tom Schulte [http://www.virginrecords.com] [http://www.cyan.com]

M.J. Harris and Martin Bates: Murder Ballads (The Complete Collection) (Invisible Records)

Murder Ballads is a three-CD set reissuing the trilogy of Drift, Passages and Incest Songs previously put out by Harris (Scorn) and Bates (Eyeless in Gaza). The three albums naturally belong together for their highly stylized content. Each one is a set of original compositions inspired by and closely following the patterns of the West European/American folk murder ballad. While gory stories on the TV news may seem to indicate a dark curiosity panderable to in contemporary man, Harris and Bates’ work reminds us that such stories have always found an audience and gained life in frequent retelling. Mick Harris provides the forlorn, desolate soundscapes that have caused this music to be termed "isolationist," or even "post-isolationist." These attenuated pieces average about twenty minutes apiece. Over this cold, abandoned synthesizer soundscape Bates intones a morbid, chilling blue-eyed soul of syllables stretched out a gallows’ length. The combination of this sanguine poetry and chilling ambient darkwave is intensely fascinating to the point of being disturbing. Harris and Bates deserve high praise for so totally incorporating this blood-drenched footnote on music history as to create such a worth body of work to add to and continue the murderous game. The set, in an understated gold and black packaging, includes fittingly antique artwork and complete lyrics. -Tom Schulte

[POB 16008, Chicago IL, 60616] [http://www.invisiblerecords.com]

Mooter, Wholesale & Manufacturing: "Free Box of Steaks w/..." (Jindra Estate, 1997)

Whoa. What the hell is this weirdness?! I listened to this CD and was instantly confused. The first thing that popped into my mind was Mr. Bungle on crack in a carbon monoxide-filled garage. Then I looked at the press release that described a strange Mr. Bungle/Primus half-breed. I wouldn’t go that far in the way of compliments, but maybe in a few years when these guys get their act tighter and more focused they’ll have a better chance. These harbingers of homemade experimental/noise/rock/whatever seem to lack a little on the recording and technical quality, occasionally creating some sloppy puddles of noise. The strange lyrics weren’t a shock after the first wave of sonic madness, but an underlying flavor of musical know-how proves that they aren’t completely psychotic and careless. Definitely get this if you’re into the vocals of Mr. Bungle and the aural disaster of ska-meets-Primus, but good luck finding it. The only info they give is an address and phone number:

[Jindra Estate, 872 19th Ave Se, Mpls, MN 55414] [(612) 379-4383]

New Mind: Deepnet (Off Beat/SPV)

Jonathan Sharp shows us here how an album could be; "Deepnet" is as told in the press infos a description of the revolutions of the sixties which all failed,equality just exists in the internet...This album has also its club smashers like "Xenomorph" and "We Can Be Together." But unfortunately I have to admit that the other Sharp-projects (Hyperdex 1-Sect and former Cyber-TecProject) are more alternating. "Xenomorph" shows the right direction. Just go on like this, away from classical old-school EBM stamping, Mr. Sharp! -sacho27033@aol.com

Noxious Emotion: Symbols (ADSR Musicwerks, 1998)

Noxious Emotion presents a great hybrid of EBM/Electro at its best. Steady, pounding dance beats meet aggro keyboards and a low, growling (but varying) voice reminiscent of the FLA side of the spectrum. Symbols is a most promising album, and I see in it the subtle qualities that can be seen in other bands that have become leaders of the genre. Noxious Emotion is a guaranteed favorite, holding their own against the most established European bands, and these guys are from Seattle! Symbols has a lot of potential not only in the catchy dance anthems, but also in the sound quality, production and strength of the music. This is definitely a band who are serious about their music, so I give it my highest recommendation and award for best full length album received for this issue.

Orchestral Manoeuvres in the Dark: The OMD Singles (Virgin)

Looking back on twenty years of creative growth since the electro-pop band’s inception, THE OMD SINGLES is logically, chronologically arranged. The earliest recordings, 1980’s "Electricity" and "Messages" prove electric messages were being channeled from such German pioneers as Kraftwek and Neu. These English boys were enamored of melody, though, and it was not long before such dulcet, song-like structure became self-evident, as in 1984’s "Tesla Girls." From then on, it is a steady climb in coherence, with synth rhythms downplayed in order to bring the melodic theme to the front. The pinnacle of this progression is OMD’s memorable (and to me personally nostalgic) "So In Love" (1985) and "If You Leave" (From 1986' Pretty in Pink). Closure to the subtle slipping after this is their last hit, 1996' glam-influenced autobiography "Walking on the Milky Way." Last original member Andy McCluskey has blessed this greatest hits package as the final swan song for the long-lived group. Originating in post-punk synth experimentation and closing in dated but still strong pop productions, THE OMD SINGLES is an excellent timeline of the band whose sound covered in a single career that same territory explored by The Human League, Erasure, Yaz, New Order and beyond. -Tom Schulte

[http://www.virginrecords.com] [http://www.omd.uk.com] [omd@omd.uk.com]

Orgy: Candyass (Elementree, 1998)

On this debut CD from Korn's new label Elementree, the band

called Orgy brings a new perspective on industrial rock. Orgy takes a

supposedly dead genre and gives me a lot of hope for its future.

Combining beautiful melodies, smashing guitars with *gasp* great lyrics

*gasp*, this is one of the best CD's I've picked up in a while. If you're

expecting a cross between White Zombie and Manson, don't pick this up;

this owes a lot to David Bowie and other experimentalists. They cover New

Order's "Blue Monday," and make it just as stomping as the original with

a metallic twist. Orgy can handle themselves in front of the dancefloor

or the mosh pit, an attribute so many other bands lack. If you're looking

for a refreshing new CD, go find this album. -Daniel J. McCullough

Pigface: Eat Shit You Fucking Redneck (Invisible Records)

"I saw the best minds of my generation caught up in the virtual reality of living…swaying robotically to non-existent rhythms, flashing memberships at clubs so exclusive nobody belongs." Thus intones neo-beatnik Meg Lee Chin in "Nutopia" on Pigface’s Eat Shit. Cool enough to separate themselves from what’s hip and rocking hard enough to scoff at monophonic electronica, Eat Shit follows Ministry’s In Case You Didn’t… live album as the new edition defining, formalizing, contemporarizing picture of how a modern industrial rock and roll show should go down. Sufficiently rugged is the recording of this circus ring mastered by Genesis P-Orridge to preserve vitality and sweat, without dipping into the low benchmarks of "bootleg quality." These post-funk rock-and-destruction anthems are raggedly delivered by a shifting cast of characters that includes members of Evil Mothers, My Life With The Thrill Kill Kult and more around the organizing principle, guiding force of anti-establishment drummer and Invisible honcho Martin Atkins (PiL, Ministry, Killing Joke). Other key members/appearances on these recordings are made by Test Dept’s Martin King (drums), BobDog (Evil Mothers/Pseudo Buddha backing P-Orridge and company on sitar) and extra vocals from Chemlab’s Jared. Pigface is an amorphous, wonderfully unpredictable collective that continues, album after album and tour after tour, to set the high-water mark for their genre. -Tom Schulte

[POB 16008, Chicago IL, 60616] [http://www.invisiblerecords.com]

Praga Khan: Luv U Still/My Mind Is My Enemy (Antler Subway)

14 tracks based around 2 incredible techno/heavy beat originals in the Lords of Acid style, minus the cheese. While any remix "singles" of this length tend to get stale after the first couple of tracks, this one stays fresh and original. Bringing in the mix talents of Empirion and Oliver Adams to name only a couple, the beats keep pounding and the strange, dark feel of Praga’s voice keep the sound consistently pleasing. The songs are remixed well enough to keep them from sounding like a KMFDM single, but stay tight enough to keep from being horribly shredded disaters. "Luv U Still..." is original in that it’s Techno, but not easily discarded, boring, Techno-bot droning. Actually, it comes a little closer to Industrial-Dance music than Techno. Great price for 14 tracks, too.

[http://www.pragakhan.com] [praga@antler-subway.be]

Project Pitchfork: Eon Eon (Metropolis, 1998)

Honestly the best PP album to date. There’s no cheesy bunk like past efforts, and there’s no hit-or-miss factor on this disc; each track is great in it’s way. Much heavier, less raspy, less annoying, and basically much cooler than previous attempts, I recommend this for those following the newer directions of X-Marks and THD. The beats are bigger, the melodies are more grand, and the vocals are much more refined if you disliked older "high-pitched" material. They seem to have also discarded the "medieval" influences in opening the door to (wow!) heavy distorted guitar in spots!

[http://www.metropolis-records.com]

Psychic TV: Origin Of The Species: A Supply Of Two Tablets Of Acid (Yes Hello Yes Hello) (Invisible Records)

Five years of Psychic TV (1987-1992) are examined in this two-CD sampler packaged in Psychic TV’s trademark exploitation of the power of the vulgar image. This is the first of a three-part series chronicling the group. Ten of the twenty-one tracks are previously unreleased. "Infinite Beat" and succeeding tracks identify Psychic TV as primogenitors of electronica, creative sampling and the club mix while flirting with psychological principles of mind control. Such is the typical combination of outre and superficially commercial material that is the Psychic TV fare and guaranteed to maintain their cult following. It is certainly no understatement to say that without this group’s envelope-pushing fusion of machines and rock instrumentation you could never have got to the now thoroughly explored realms of acid house and techno. A thirty-page, full-color booklet details each track with text from the mind of founding member Genesis P-Orridge (also of pre-Industrial noise experimenters Throbbing Gristle). Allowing full-immersion of this suggestive, cryptic, neo-psychedelic beat music is truly a mind altering experience. A couple hours after partaking of these doses, one can be assured that Psychic TV aspired, and often succeed at, employing guitars, drums, keyboards and sequenced sounds toward recreating an expansive, hallucinogenic, paradigm challenging drug experience…that you can dance to.

[POB 16008, Chicago IL, 60616] [http://www.invisiblerecords.com]

Pygmy Children: Low Life Dream (Out Of Line)

LLD is a relentlessly aggressive electro attack from the Roper brothers who brought you Deconstruct. Excellent melodies are woven within a harsh blend of Pygmy-style electronics that will impress you as they did me. This is one of the rare albums where every song is powerful, but my favorite one has to be Halo Effect which is undoubtedly an anthem track for PC. Great album, and the Roper brothers are some of the coolest people in the genre...buy their CD!

[http://dune.fionline.it/iis/pyg.htm] [outoflinex@aol.com]

Razed In Black: Sacrificed (Cleopatra)

This is a hard one to review...its appeal is rather directed in a "pop" sort of way, yet strays from standardized norms. The "pop" aspect has to do with the melodies and tight, strict guitar usage, but there is an underlying sense of a need for escape from trends that you won’t find on just any crossover album like this. Granted, there isn’t much display of pure originality here, but the skill and craft used in putting it together is amazing. This album will definitely appeal to crossover fans, in the vein of Testify, Ministry, and Die Krupps, but the vocals are in all actuality reminiscent of 80’s metal with some heavy distortion, mostly shouting and angst-filled to the point of monotony on some tracks. Definitely not a bad album, but I guess you have to have a taste for this brand of music. I can’t wait to see how this band progresses.

[13428 Maxella Ave. #251, Marina Del Rey CA, 90292]

The Residents: Wormwood (East Side Digital)

The Residents turn their wry sense of humor and bizarre pop minimalism on the most widely printed book of all time, The Bible. As the earth itself existed without form only to be molded from chaos by Yahweh, so these salacious and gory stories existed scattered about the holy pages before being drawn together by those mysterious excavators of popular culture, The Residents. Similarly, the disc opens with an instrumental "In the Beginning" coalescing out of the void with storm sounds, carnivorous respirations and a synthesized march. The tales are told of Lot's dysfunctional family, the ascetic God made Ezekiel into and The Flood. Salome gets her due, as her murderous request for John the Baptist's head is celebrated in delicate piano, funky organ and dissonant guitar. Furthering the exploration of the text's dark side is "Cain and Abel" and a keyboard and bass lamentation on the Old Testament's prominent Cassandra, Jeremiah. In all, around twenty songs are culled from the sordid underbelly of this esteemed tome. Sung in a variety of Residents voices (whiny, raspy, really raspy and female) with odd and simple synthesizer and instrumental arrangements make these Bible lessons lyrically extrapolated from a sinister poetic license more stylized, memorable and elucidating than Sunday School. -Tom Schulte

[http://www.noside.com/esd/] esd@noside.com

R.L. Burnside: Come On In (Fat Possum/Epitaph)

The strange mix of classic blues and modern electronica. It managed to get at least one listen without a giggle or two slipping out. The disc is produced by the same guy who produces Beck, so if you like the blues/folk kind of thing interbred with electronic breakbeats this is for you. Alec Empire of Atari Teenage Riot appears here too, doing a remix on one of the better tracks.

Skinny Puppy: (V/A) Remix Dystemper (Nettwerk)

I know Ogre and Cevin Key okayed these oh-so-lovely gems; what the hell were they thinking? All I have to say is that a bunch well-intentioned bands raped Skinny Puppy songs, big time. Deftones, God Lives Under Water, Chris Vrenna, and Gunther Schulz are the worst contributers to the mix, while Josh Wink and others serve up moderately better interpretations. Hands down best track goes to Rhys Fulber’s rendition of "Worlock." Now who could be expected to even compete when my man Rhys is taking over? Here’s an idea: kick Deftones and the other half-tech wusses to the curb and let Mr. Fulber remix a full album by himself. I urge Skinny Puppy fans not to buy this album. Even Cleopatra’s Hymns of the Worlock tribute album is recommended above this. Support the bands who really found roots in the primal influence of Skinny Puppy. As a matter of fact, just buy an original Skinny Puppy album.

Sleep Chamber: Sentinel Serenade (The Best OF) (Cleopatra, 1998)

An odd but not surprising addition to the steadily increasing Cleo catalogue. This "best of" compilation spans the Sleep Chamber career beginning at 1988, and continuing up to 1997. Laden with fetishist and sexual topics, (one must see the album cover to fully appreciate the full extent) "Sentinel Serenade" visits the most intense Sleep Chamber tracks, which swim in and out of Minimalist-Industrial and Goth-Rock, with flat spoken/whispered vocals, reminiscent of some earlier crossover bands and Einsturzende Neubauten material at times. There is something dark and intriguing about this band, due to the use of grumbly aggravated electronic bass lines, short, pounding percussion, muted vocals, and not-so-Kosher references to sex, but the elements are mixed up in a cold, disturbing fashion. This is music that sounds like it was created in a dark cold cellar while whips and chains were being utilized quite freely. Recommended for followers of Minimalism, long time fans who lack the rarer tracks, and newer fans who can’t afford the entire back catalogue.

[13428 Maxella Ave. #251, Marina Del Rey CA, 90292]

SMP: Ultimatum (Catastrophe Records, 1998)

"Wow!" would summarize this review, but that would be cheating. SMP's unique blend of in-your-face danceable electro with rap-like vocals and ass-whooping abrasiveness makes quite an impression, even on first listen. Associating their music to such reputable acts as Consolidated, Rage Against The Machine, Pop Will Eat Itself, 311, Meat Beat Manifesto, Swamp Terrorists, and Insane Clown Posse, a clear melding of various definitive styles can be distinguished on this album. This melding however, is far from being a shadow of any of the aforementioned. The way in which these styles are combined is truly a revolutionary step in its own direction. Lets just say that out of a 17 track album, Ultimatum stays very strong for the whole listen. Even with "Success" being my least favorite track, the other 16 truly kicked my ass. Highly recommended. [www.isomedia.com/homes/smp] smp@isomedia.com

Spahn Ranch: Beat Noir (Cleopatra, 1998)

Quite a refreshing progression for Spahn Ranch; much more interesting and beat-heavy than it’s predecessor, Architecture. Reflecting influences of Dub, Techno, Heavy Beat, and the Spahn Ranch style that prevailed dominantly on The Coiled One, Beat Noir is destined to be a fan favorite. I’ve even found myself addicted to the new incarnation of Spahn Ranch, and I believe they will continue to generate new fans as their style becomes continually more diverse and encompassing. SR’s releases, including Beat Noir do not alienate listeners with a particular musical focus, yet they do explore new avenues with every release.

[13428 Maxella Ave. #251, Marina Del Rey CA, 90292]

Tales: Interstellar Memories (Somewhere in Time Records)

Jean-Luc Herve Berthelot is a composer and teller of tales through his music. Following on two previous albums exploring Celtic and Asian themes, "Interstellar Memories" leaves the globe entire for a journey into deep space. Following in the traditions of Tangerine Dream, Vangelis and Brian Eno, Berthelot employs keyboards, percussion and treated voices to an atmospheric, filmic vision of the slowly tumbling beauty of the universe's most unexplored regions. Berthelot's electronic compositions are not Frankensteins of cobbled computer sequences. Jean-Luc performs the entire keyboard composition setting up all loops live through a digital delay line. Carefully and artistically constructed, the soundscapes of Tales are vivid and imaginative visions of, in this case, a single intergalactic voyage. -Tom Schulte [http://www.atkl.com/tales/] sitrec@magic.fr

Tanguay, Walsh: MIDI Tapant (Ambiances Magnetiques)

Drummer and percussionist Pierre Tanguay has worked with trombonist and programmer (echantillonneur) Tom Walsh for over six years. On MIDI Tapant the pair present seven original compositions. The cuts are mood pieces featuring mostly found object and cymbal percussion behind eerie samples and Doppler effect, lachrymose trombone legato. These pieces take us to several locations each. For instance, the singular "Une petite douleur" begins with a pipe organ in conversation with a duck call to a mid-piece space of a cavernous union of girlish vocalizations and children's room chimes. We are left with those voices aged and disappearing into a siren drawing near. The organic harmony of xylophone and plastic balls in "Ping Pong" makes a bubbly and warm coating for the sonorous exhalations of a foghorn. Loosely composed, these largely improvised tracks become episodes in a boundless exploration of technology and the duo's instrumentation. Minimalist in its simplicity and airiness, MIDI Tapant is richer and more thought provoking than most spare constructions of the genre. Take the title track for instance, with its clamorous contest between free jazz and a corral of captured sounds. On the closing "Madame Duluth" an amorphous crowd of French voices contains treated harmonica that varies from familiarity to electronically transmogrified oddity. As with each piece here, the elements are simple, maybe even mundane, but the experiment's results are memorable and surreal. These pieces affect a room, populating with sudden sonic visitors that dash upon the walls new color. -Tom Schulte [http://www.cam.org/~dame_cd] dame_cd@cam.org

Testify: Crack The Mind (Van Richter Records, 1998)

Testify emerges again, this time armed with 5 new tracks and 4 remixed by the likes of Die Krupps, Die Warzau, and Plastic Noise Experience. Relentlessly harsh and ever aggressive, the team of Myk Jung, Moses W. (both of The Fair Sex), Mathias Black, and Ulf H. return to remind us that they are the reigning masters of the dark, guitar-driven industrial niche. For those of you who wish Ministry hadn't gone soft after Psalm 69, Testify will more than make up for what you've been craving. From devastating guitar manipulation to controlled insanity, Testify's "Crack The Mind" is an awesome addition to Van Richter's catalogue. [http://vr.dv8.net] vrichter@netcom.com

THD: Watz Your Program? (Pendragon Records, 1998)

Drawing on a newly found depth and stylized integrity, THD erupt with "Watz Your Program?" whose obvious influences (be they conscious, unconscious, or coincidental) can be found throughout, such as the Spahn Ranch/Oneiroid Psychosis cross-breed "Anubis" (which happens to be a Brain Leisure remix) and the Mentallo & The Fixer cloned "Floating Corpse." The bright side of this is that no 2 tracks sound the same, and there is never a dull moment. The masterful electronic execution is superb, intricate and intoxicating. For the most part, THD have found sophistication and a slightly more accessible sound through ambience seasoned tracks laden with dance beats and distorted vocals that retain tone and musical quality. Despite the similarity to other bands at points, "Watz Your Program?" surpasses petty shortcomings, aiming THD in a good direction.

[www.edtrecords.com] Pendrag1@aol.com

V/A: Abort, Retry, or Fail Vol. 3 (Damage Records, 1998)

This is a wonderfully varied CD, putting bandages between the sometimes overly defined gashes between Synth-pop, Electro, Goth and Industrial. "Abort, Retry, or Fail" is a great mixed bag, with outstanding production and talent. The sparse use of vocal distortion and all-too-typical guitar ramblings make this an collection a dark and beautiful flower amongst a field of increasingly stagnant weeds. This disc is bright with fresh faces, including 11 tracks by Collaborateur, The Machine In The Garden, Nomad Project AV, Lilies Of The Field, Arthur Loves Plastic, Spinning Mantis, Vampire Nation, Plato, Saturnalia, Sinfulproductions, and Atrocity Exhibition. My favorite track is a shred between Vampire Nation's "Egyptian Sexmagik" and Plato's "Jellyfish." Especially check this Cd out if you're skeptical about today's dwindling of the musical gene pool.

[www.damagerecords.com] info@damagerecords.com

V/A: Aural Stimulation (Corporate Greed Conglomerate)

Aural Stimulation is a compilation melding a wide variety of underground New Jersey acts. Not particularly electronically influenced, but definitely worth it for the artistic integrity of high quality, low profile spoken-word artists as well as the usual alterna-rock and indie rock bands, some of which pass by without recognition. Even a Swing band is thrown in (to my dismay and others’ delight) but overall I liked the material this disc had to offer, especially for the low, low price of FREE. They were given out at the Corporate Greed website if you could tell them why you deserve a copy...

[http://www.corporategreed.com]

V/A: The Black Bible (Cleopatra Records,1998)

I received a "Tracks From..." version of the Black Bible (normally a 4-CD set), and from what I can hear, it’s a Goth’s dream...er...nightmare. While it is said that The Black Bible officially contains "rare and unreleased Gothic, Ethereal, Industrial and Experimental music," I fail to see a large departure from the Goth-Rock music pool. The tracks are well chosen however, ranging from old Ministry and Alien Sex Fiend to Switchblade Symphony and, of course, Electric Hellfire Club. This set is a finely thought out and well compiled collection of works by mostly older but highly regarded acts. The biggest Goth fans may tend to shy from it, as the "rare" tracks aren’t always that rare, but newer Gothlings will embrace this collection as quite literally a "Black Bible." The band listing is extensive, but expect to also find Gary Numan, Bauhaus, Legendary Pink Dots, 1000 Homo DJ’s, Rosetta Stone, and many, many more.

[13428 Maxella Ave. #251, Marina Del Rey CA, 90292]

V/A: Cicatrix (The Ritual Scarring) Collection I (DivaNation)

Firm on its resolve to promote "mixed-gender" acts Diva Nation includes on their north-midwest regional sampler of dark electronica and trip-hop dulcet female voices backed by some male musicians. Nye givesus the first track, an instrumental presenting a forcible piano-sound melody backed by synthesizer and cello. In the progressive hip-hop area, we get a preview of DivaNation's forthcoming The Immortal Savant through "Teardrops." A looped horn-passage fragment and edgy organ samples works well with a casual, fatalistic and bizarre rap. Kalamazoo's Blue Dahlia gives two female vocalists in slightly R&B-influenced electro-rock over a dry drum. Chika's "C-Street Angel" notably sticks out for its honestly and intimately delivered light-pop arrangement of piano, acoustic guitar and female voice with female backing vocals. "C-Street Angel" is a moving and beautiful ode to a woman in search of herself. Julie Schreiber vocalist stands out for sweetly sung poetry on physical passion in Jute, a trio that is two-thirds of My Scarlet Life. MSL itself alse features Preston Klik's smart and hip production and samples on the engaging and finely assembled electronic ballad "Here I Go Again."

Cicatrix is an excellently programmed and varied introudction to an obviously fertile scene of technology-loving groups creating out of the greater Chicago-land area. -Tom Schulte [http://www.DivaNation.com] DivaNation@aol.com

V/A: Cryogenic Studios: Front Line Assembly, Bill Leeb, Friends and Company [Cleopatra]

One more Bill Leeb associated project to add to the list. Masterful as usual, excellent in production, ideal in concept, yet horrible in intention. I honestly think that someone was trying too hard to cash in on this one, making it a conglomerate of "previously unreleased" tracks and remixes that perhaps were left alone (for a while at least) for a reason. Showcasing the many side projects of Bill Leeb, one wonders why there's a separation between monickers at all. FLA, Noise Unit, and Delerium used to sound different, but on this album there seems to be an incredibly blurry line between varied incarnations such as Pro>Tech, Synaesthesia, Delerium, Equinox, and FLA. The best tracks are FLA's "Transmutation," a revival of an old-school unreleased track, and the remix of Delerium's "Desert." While I can appreciate this album for it's soundtrack-like qualities and enchanting characteristics, it just wasn't as hard-hitting as I expected it to be.

V/A: Dugga Dugga Dugga

Dugga Dugga Dugga is an amazing collaboration of artists interpreting Wire’s "Drill." I say collaboration, as opposed to compilation, because due to final engineering by London artist Mark Gage (Vapourspace, Cusp, Carl Marks). Hereby the material was "milled, sieved and refined" the final recording is as if a single composition, an extended version of "Drill" where one track seamlessly segues to the next held together by the repeated, if transformed, theme. Wire, or now Wir, is so enamored of the piece that it appears on at least five recordings and became a thirty-minute portion of their live set. The alchemists of electronica called in to brew this fourteen-part potion are Baboon, Chris & Cosey, Electric Company, The Ex-Lion Tamers and others. No portion of the final product is directly identified as originating with any of the listed contributors. By finalizing the product as a continuous mix of variations, Wire elevated what could have been one more of many, awkward tribute albums into a cohesive, apotheosis of the piece into a grand opus of multiple derivations. This injection of a compositional, visionary element into what is an electronica concept album exploits the possibilities of the genre (‘parallel processing’ of a single ‘problem’ simultaneously in separate studio workshops) while retaining the theme-centered focus of enduring, great works of art. -Tom Schulte

[WMO, POB 29133, LA CA, 90029-0133] [http://wiremailorder.com] wmo@interserv.com

V/A: Elektro Discharge (DSBP, 1998)

A varied collection of artists care of Tommy T. of DSBP. Featuring such coolies as Velvet Acid Christ, Noxious Emotion, and Fockewolf, Elektro Discharge offers 18 tracks of just what the title implies. Production quality lacks a little on a couple of tracks (not to mention the package design, but hey who really notices that), but when it comes down to it DSBP compilations are reliable in that they bring out a wide range of underground and sometimes not-so-underground talents. Recommended if you need a good dose of new material that hasn’t been re-hashed 5,000,000,000,000,000,000 times on Cleopatra compilations.

[http://www.dsbp.home.ml.org]

V/A: Jacques Tremblay: Alibi, Ned Bouhalassa: Aerosol, Yves Daoust: Musiques Naives

DIFFUSION I MeDIA celebrates fifty years of musique concrete with eight special releases in the genre of manipulated tapes and recordings. These three titles are the most recent of that series to reach my ears. The simple surrealist experiment of sliding across radio bands forms the introduction to Tremblay's excursion toward "an Alibi…a deferred elsewhere." That piece, Heresie Ou Les Bas-Reliefs Du Dogme and its fellows (recorded 1990-1995) are fascinatingly otherworldly and rather bizarre sonic creations from an expansive imagination. Unintelligible and distorted voices intrude upon a world of overtly mundane environmental sounds (birds, water running, etc.) for a unique intrusion of the alien into the comfortable. Daoust of Montreal was Tremblay's first instructor in the arts of audio alchemy. His MUSIQUES NAIVES covers roughly the same years and is a more pure reflection of the sounds we hear. However, as when restrained electronic roars and eerie whispers are used as sorbets to segue from traffic to the playground to cartoons, etc., (Il Etait Une Fois…(Conte Sans Paroles)" these visitation of the weird onto the banal are more contrasting and vivid. Ned Bouhalassa takes cues from current techno culture, as well as past musique concrete masters. Bouhalassa's trippy visions are odd and intelligent dreams from the chill-out room. As the album's title summons images of fluorescent graffiti, so do his sonic collages tap into the sci-fi lands of hip electronica. -Tom Schulte

[DIFFUSION I MeDIA, 4580 de Lorimier, Montreal QC, H2H 2B5,Canada] [http://www.cam.org/~dim/] dim@cam.org

V/A: Gothic Rock 3 - Back On Back (Jungle/Cleopatra)

Focusing on the 80’s, Cleopatra continues documenting the history of Gothic Rock with this 2-CD set. Progressing through the discs, the tracks get basically more obscure. Starting off is the pop Goth of The Cult ("Spirit Walker" and similar to the Skeleton Family track) on to the odd, desert Goth of Theatre of Hate’s "Do You Believe in the Westworld." Fields of Nephilim adds riff rock Goth ("Blue Water"). With sound ready to open for Psychedelic Furs or Modern English is March Violets. Truly unique is the bouncy, glam Goth of Danielle Dax’ "Yummer Yummer Man." The obligatory track of 80’s Goth Kings Bauhaus is "Passion of Lovers." Other ‘big names’ in the genre found here include Christian Death, New Model Army, Red Lorry Yellow Lorry, Gene Loves Jezebel and Alien Sex Fiend. Lesser known is a catchy cut from Sexbeat, "Sweat." Not that it is often I see a Goth move enough to sweat, but a good place to start is Goth dance rock from a Specimen 12" mix. Fun to sing along to and rife with 80’s-era Goth guitar is "The Tenant" from Play Dead. Siouxsie Sioux without any range is the Anje Huwe¸ defining vocalist for X-Mal Deutschland. Promoting overt depression is Danse Society. Obscure and ruggedly recorded gems from Creaming Jesus, Bone Orchard, Turkey Bones, Ritual, In Excelsis, 1919, Into A Circle, Rosetta Stone, Salvation, Screaming Dead, Zero Le Creche, Rubella Ballet, The Dark, Cuddly Toys and Actifed round out the collection on DISC 2. -Tom Schulte

[13428 Maxella Ave. #251, Marina Del Rey CA, 90292]

V/A: Of Passion And Remembrance (A Collection of Darkness and Beauty) (i.D. Records)

Hands down, THE best Goth related album I’ve heard to date. I.D. offers up a superb collection of serious and emotionally-charged tracks that form an excellent interface of intelligent electronic and traditional Gothic music, with a taste of synth-pop flavor here and there. Forming something other than a contest of who’s darkest, this album gets my highest recommendation. A superior sense of taste went into this compilation, and there is not one track that did not hold my complete attention and elation. Bands to watch for include: Gossamer, Rapture, Valmont, Vampire Nation Gangstar Coven, Bella Morte, Gelgoleth, Carmilla’s dress, Vehemence Realized, and Slave Cradle. Award for best production and song go to Gossamer. Award for the most stand out track goes to VNGC; definitely unexpected..

[http://www.idrecords.com] [adagio@idrecords.com]

V/A: Plastic Compilation Volume 2 (Nettwerk)

"The Plastic Arts" usually refers to such tactile crafts as sculpture. Through the intrinsic malleability of electronic music, electro-beat music becomes one of the most transformable of the arts, transformable even after its creation. Such artful trickery that can stretch out a good three-minute dance beat into a very interesting piece of twice that length or more leads to such occasional assemblies of genius as this State Of The Remix collection, Plastic. Nettwerk is also possessed of such a fine stable of artists that they can compile a superior product. The prevalence of the female voice in cuts by The Crystal Method and Sara McLachlan (on the Delerium track and her own, remixed by Brit drum n’ bass maestro Roni Size) among others keeps a strong, complementary melody in what is primarily rhythm music. King of such combinations, for which Nettwerk is well known for producing, is William Orbit’s "Water from a Vine Life." The ancient Greeks spoke of a Golden Age when honey dripped from the leaves and Orbit’s idyllic production, sung by the highly talented Beth Orton, recalls a similar paradise and is presented here in a smooth Xylem Flow Mix. While such is more often the face of pop than the future of pop, Nettwerk also takes a look back in rap-allied old school of Wildchild. Electronica also proves admirably able to incorporate elements of world music. Present on this compilation is Cornershop, representative of London’s Asian Indian flavored electronica the French pop artists Autour de Lucie. Other very strong tracks are from renowned space rockers Spiritualized remixed by The Chemical Brothers and the compositionally minded BT teamed with another techno ambassador Sasha. -Tom Schulte

[8730 Wilshire Blvd. #330, Bev. Hls CA, 90211] [http://www.nettwerk.com] [info@nettwerk.com]

V/A: Plastic Vol. 02/Skinny Puppy Sampler (Nettwerk)

This is a free sampler issued with copies of Alternative press #126. Side AA tracks include (from Skinny Puppy’s Remix Dystemper) the Gunter Shultz remix of "Addiction" and Rhys Fulber’s remix of "Worlock." Side A tracks include (from the Plastic Vol. 02 compilation) the Fat Boy Slim Old Skool Edit of Wildchild’s "Renegade Master" and the Roni Size remix of Sarah McLachlan’s "Sweet Surrender." See the reviews of Remix Dystemper and Plastic Vol. 02 in this section.

V/A: Terra Firma Vs. The Atmosphere (Part 3 of the Cataclysm Singles) (Blacklight Records, 1998)

Terra Firma is an excellent compilation, surpassing many in sound, diversity, originality and production. The tracks seem a little trapped in the dark electro-industrial category, and I fail to see the employment of the thematic conception of this compilation. However, that detracts nothing from the music and every one of the tracks stand out in their own right. Such tracks as "Invasion" from Fatal Blast Whip, "Bloodstained" by Temple of the Times, "Concession" by A Different Kind of Cop, and "Denial’s Hypodermic" by Evonica are my particular favorites, but it was a hard choice as the whole album was rather inticing. It stayed in my disc changer far longer than most, so I guess that means buy it.

[http://www.blacklight.com] [label@blacklight.com]

Vampire Nation: Bes-na-Maut (Hexagon Records)

A beautifully crafted cassette release. Beginning with a chilling track reminiscent of Clock DVA’s "The Connection Machine," the album flows to a harmonious blend of multi-cultural instrumentations and cold melodic chants. As you’re thinking "wow, this is what Delerium was trying to accomplish," an onslaught of pounding danceable beats chime in as an unlikely but addictive compliment to the music, weaving in and out of a trance-like state intersected by ethereal atmospheres. Most Techno/Trance albums rely heavily on beats and monotone keyboard ramblings. Bes-na-Maut takes the beats and weaves them with creative and distinctive musical attributes. Highest recommendation for fans of Delerium or for those looking for something deeper in electronic dance music.

[http/www.vampire-nation.com]

Vampire Nation: Cairo Riders (In_Faction, 1999)

This is an extremely limited Vampire Nation mini compilation which comes free with the first 100 copies of In_Faction issue#3. If you didn’t receive this promotional tape with your copy, you were too late (sorry!). If you did get it, pop it in the stereo and review

it yourself!

[http://www.hexagonrecords.com] [fortify@aol.com]

Wildchild: Renegademaster (Ultra Records, 1998)

This is the hard-pounding 7-track single which has a track on the AP/Nettwerk sampler (also reviewed here). Heavy electronic beats and old-school rap styled lyrics and samples a la Beastie Boys and Fatboy Slim (who happens to be a contributing remixer) comprise this disc, making a head-on urban assault. Not too varied, but definitely one to get the blood pumping. Other remixers include Norman Cook, Tall Paul, and Urban Takeover.

Willie Loco Alexander: The Holy Babble (Tourmaline Music)

Willie Loco Alexander is a throwback to the beatniks. Admittedly, Jack Kerouac influenced, the spoken word pieces by this jazz drummer also recall the spacious wasteland of another jazz fan performed by actor Chris Parker in Jim Jarmush’s Permanent Vacation. But prose poems are not all that is to be found on this collection of material spanning a decade. This original member of the Boston punk scene also put together some odd music. "Chinatown in Cinemascope" is an evocative ambient piece of urban environmental sounds and synthesized material suitable for a film noir soundtrack. "Somewhere in the Good Voyage Lounge" is a one-minute exhibition of guitar dissonance, French radio excerpts and synthesizer. "Aqua Scratch / for Magnus & Mango" is a primitive drum machine leading to a keyboard non sequitur. But, the majority of the album is spoken word; Willie’s confessional remembrances phrased in a hip vocabulary and healthy slices of atmosphere able to be recalled only by someone was has spent four decades on the fringes of the music scene. "Beyond the Lavazza," with its album-defining phrase "she listens to pearl jam, well I’ll be damned if I can," is representative of the authentic if rugged production throughout; papers shuffle as loud as the words are spoken and clearly the rain outside (thorough an open window?) can be heard. For its color and intimacy, The Holy Babble is supremely listenable. -Tom Schulte

[894 Mayville Rd., Bethel ME, 04217] [http://www.smasheasy.com] [tourmaline@smasheasy.com]

Zgen: Day 1 (Zgen United)

Zgen is an eight-member project that includes cello in its arrangements and has one female vocalist to sing in English and another for French. One member, Archisound, is listed as being responsible for "sampler, keyboards." This belies what is perhaps the most important part of the Zgen sound, the studio. Each song sweetly sung and cleverly if simply arranged to include a chorus of child-like charm, is festooned with such sound samples as rasping, dripping, rattling and more. Everything is blended together in production, especially with echo. The result is rich and textured, a real treat for the attentive ear. As each song builds from and ends in a cloud of such sounds, there is a de facto cleansing of the aural palate by sorbets of audio collages before each song "course." -Tom Schulte

[B.P. 137, 84007 Avignon Cedex, France] [http://www.zgen.com] [celine@zgen.com]