H2S is Fabio Degiorgi's own musical project and if you are an affectionate reader of our magazine you should remember him because of my previous reviews. PROTEUS SOUNDTRACKS is his first proper album printed on CD (not CD-r) which he released for his own Biostasi Rec. The album contains eight new tracks always in balance between experimental intuitions, industrial sounds and also a bit of post punk/new wave (because of some effected guitar sounds). The tracks are instrumental ones but the titles and their atmospheres talk for them. "Proteus Postojna speleological station", "Zimmerstrasse" or "Lunik 15 was watching you" are inspired by 80's cold war while "Thoa", "Disconnected life", "Abyss of existence" and "Humanisphere" are dealing with the evergreen theme of twisted human relationships. There's also an homage to Luis Bunuel on "Les images de Maria Latour" as well as the title of the album is inspired by Chrome's "Alien soundtracks". Fabio is good at creating an ambience in balance from isolationism and experimental mood and he also used some basic melodies which gives to the whole album a different sound paragoned to the usual "world is a shit and we're all gonna die in pain" approach. His music gave me a different feeling that made me think of a post catastrophic soundtrack took under the positive point of view. Instead of de-humanizing industrial music, H2S is humanizing it and Andrea Marutti helped him giving the final cut to the master recording. A really good work that deserves a proper distribution. It will be released on November the 24th and it's limited to 300 copies. Get your own one...

Is it possible to have personality and character in electronic music these days? Sure, as I’m sure it will be possible (not just in electronic music) to have both these qualities till this planet won’t be frozen by the next glaciation. After this opening remarking of the fact "everything has been said before" make sense, but it’s not a good reason to sit down and think like you’re ten thousand years old, let’s speak about this cd. A_dontigny mixes many electronic styles with a great and unusual skillfulness and also shows he’s really able both in discerning interesting samples but he’s chosen the right collaborations to enrich this or that passage. I’ve just heard a few releases on this label (and Metaxu is still one of my personal faves), but I’ve had the impression they’re into electronic music almost at the edge of being experimental for what regards artists work on the tracks. This Canadian musician sometimes cuts the tracks by skiping and using glitches, sometimes he breaks everything fragmenting and manipulating a sample in order to make it workable with the superimposition of a second or even third layer. He’s a "perverted" propension for putting together melodies with unnatural electronic manipulations closer to a dj tradition than "contemporary classic electronic". While we’re far from one of those wishy-washy Afx Twin clones, I’m sure dear ol’ Richard D. James would start nodding having an hard-on with these post-jungle, post-classical, post-electronics, lost in acid, fragmented tracks. I think the fact a composer/musician like Paul Dolden is among the guests of this release says a lot concerning the fact Geisteswissenschaften is filled with songs made with heart and brain and not trying to be part of this or that subgenre of music. Sometimes you have chaotic tracks, sometimes rhythmical irregular tempo changes, sometimes it all sounds like your cd player is skipping randomly stroke by a digital tornado, but in the most of the songs you’ve a solid construction and above all after having survived the first blasts big part of the release approaching toward the end becomes softer an more quiet... almost "easy".

This is surely a very prominent addition to the roster of the German SkullLine label. Audio results and co-compositions could lately be heard very often by this Japanese Cyberpunk artist, at least Kenji Siratori was available as a guest on PRIDE AND FALL’s latest full-length album "In My Time Of Dying". Kenji’s own compositions of course like to drift in different styles and moods. It’s generally static Ambient, which ranges from eerie to harsh-metallic, Experimental and Noise, also comparisons to some Cold-Meat-acts can work as a reference. This "Death Creature"-album offers 4 tracks simply entitled "Zero", "One", "Two" and "Three", and each of them clocks over 10 minutes playing times. All tracks feature a voice performance by Kenji, but it isn’t like singing, it’s rather a kind of imploring murmur by using a stereo effect. While the tracks "Two" and "Three" follow rather the static and harsh path, "Zero" appeals the most with a kind of ominous-sounding melodic and repetitive signature. Since Kenji has made himself a good name especially in the past months, this extremely limited and hand-numbered item (only 50 exemplars) should be gone immediately – in other words: Hurry up, drop a mail to SkullLine and ask for availability of this release.

Aemae is the sound project of Brandon Nickell of Oakland, CA, USA. It lives in the aether world of buzzes, clicks and whirrs of the insect. Sounds flit in and out of our view as flies, mosquitoes and moths dive bomb our heads. It is obvious that the details of each sound has been lovingly painted with the glow of the electron. There has been attention paid to the results here and even though we may not be able to speak the language of the micro-world of the insect, we can still appreciate its beauty.

What we have here boys and girls are 25 tracks (!) of variegated mutant rock/experimentalism by the over-indulgent (in a good way), over-achiever Moore. His web site claims over 400 releases in various styles and formats. Does the world really 400 releases from any one artist, no matter how good s/he is? The answer I guess lies in his fan base. But all this is not a comment of the quality of this release. This is a DIY release with all the sonic limitations that category implies. This guy can sing, play, and write songs well so who’s to complain? The subject matter is definitely not mainstream and there is strong vein of oft times wry crude humor, but regardless, the prankster humor is a strength of the songs (his piss take on Led Zeppelin’s cock-rock silliness on "Hi N Loathsome" is a hoot). The accepted forms all take a hit by Stevie. He just doesn’t care if it doesn’t fit into the corporate categories of what’s cool, what’s accepted, what’s selling. Listening to this causes time warped rebirthing experiences of all the music I’ve heard in last thirty years of my life, all of it pushed slightly off-center somehow. Moore doesn’t try to fit in and obviously doesn’t want to. If you’re that kind of person, or if you want something different to wipe out the cobwebs created by the repeated listenings of the same old crap we’ve heard for the last ten years or so search out these recordings. There will be something there for you to like. Kudos to RSM for sticking to his guns after all this time.