Available on MCD (only 500 copies available) and as digital download with a different track listing (the titles are the same but the remixes artists differ) SUPERMAGIC is the first single which anticipate the new Parralox album "Metropolis" due for November 2010. The Australian duo on this new single mix the sensual vocals of Amii with upbeat electropop packing a song that is ready to hit the charts. Recalling a little another Australian girl named Kylie Minogue, the music of Parralox has the same power but it sounds a bit more dark compared to the latest two album of the Aphrodite girl of pop. On the digital edition you can find five different mixes of the main tune (the two O-Phase edition take the original vocal melody and paste it into different, cool as well, music structure while Silica Gel make it turn into an emb alternative pop hit). Along with "Supermagic" you can also find three new songs: "Time (Dark Version)", "Homecoming (Edit)" and "Failure (Reproduction) (Edit)". The first one is a mid tempo winner, a sort of Madonna plays dark pop. "Homecoming" is a pop song with 90's e.b.m. sounds and "Failure" sounds like like early 90's Depeche Mode with a pop female singer as guest.

Coming from Minnesota, Josh Johnson and Dan Kram are Estate, the newest Mullet Records' signing. NUCLEAR CITY is their debut release and contains five fresh tracks of dance wave that will make your feet moonwalking in no time. Mixing funky bass lines/guitars, clear catchy vocals and synth spacey chords/solos (as on the only instrumental, "Blow J"), the duo pop out six instant classics. Years ago labels would have advertised a release like this as a double A side single, because no song is a loser. The opening "Nuclear city" and "In the red" are two song that for sure will catch immediately the attention of the listener. The info sheet names Hall & Oates to explain what kind of song writing quality the duo reached and this is their debut! Dreamy atmospheres and upbeat rhythms are the trademark of the EP and the Gilgamesh remix of "Write to make" (the sixth track of the lot) shows well how this choice is a winner one.

This time Pietro Riparbelli as k11 made his transcommunication action in Assisi, more specifically in the Cathedral. He record and document signals and sounds coming through short-wave radio receivers in the oldest area of the building.
The numbers used in the songtitles are chosen with purpose, all related to the Gematria, the ancient system that assigns numbers to words and how they relate to each other. "300=Tau" opens this record with a meditative atmosphere crated by resonances dotted with metallic sinewaves. "888" start with drones that juxtapose until the noise enter as menace to silence, as holiness challenge sin, and drown in the end of the track. "18=lh" is the most solar track of the album and sounds like an hymn. "318" is a synthesis of drone and noise that close almost in peace.
This music has the power to evocate images of solitary exploration of obscure and abandoned fields, because is structured with a clear design in mind and don't try to use simple tactic to frighten the listener.
A note: in the video of this album there's a still when it appear the word silenzio (silence) wrote in a placard... well, this require careful listening to appreciate it. A really good record.

Bfffth is a collaborative of artists who choose to remain unknown. Their website is strange, probably voluntary confusing, between the focus on the music, not on words, and prank. The idea behind this work is the four phase of light emanating using a lens, .
This album is a piece for solo amplifier, lead, samples which means, in reality, a long work constructed in movements where, starting with ambient mood goes into noise territories near Merzbow.
In detail, part 1 (the output) is an almost dark ambient introduction, while part 2 (the return) is almost static metallic noise. Part 3 (the feedback) sounds like the spectral juxtaposition of the properties of the previous parts and this work end with the part 4 (the new output) that is a real Merzbow-like noise assault. The album ends with a small coda made out of drone.
This work is followed by an obscure text in their website that suggest a parallel between this schema and the viewpoint: "Time stops. [...] because there are no disturbances [...] everything exists inside one space, all are together" and some videos on you tube (the video is a still with one of the four phase). Nice for followers of the genre.

One half of the harsh industrial band Snog, the provocative Australian musician David Thrussel finally comes back with another of his shrubby and scathing releases by which he's able to shrivel the most raving aspects of contemporary human history, most humans sometimes ignore, as well as to have a squint behind controller's curtains through the use of musical language inheriting elements both from EBM, techno and scattershot electronica, a plenty of references running on the razor-sharpened edge of conspiracy theories and political matters and by which he manages to move the listener's mind up without using any lyrics. The plot standing behind this new release entitled Full Spectrum Dominance ' issued by Ant-Zen in collaboration with the seminal Tympanik Audio -, like the ludicrous military doctrine inspiring the American Department of Defense according to which a joint military structure should achieve control over all elements, including not only the classical air, land and maritime warfare, but also information space (the so-called Cyberwarfare) and electromagnetic spectrum and what is known as Joint Vision 2020, the famous plan for world hegemony developed by Joint Chiefs of Staff and supported by DARPA, acronym for the Defense Advanced Research Project Agency, a funding body of the US Government and the Pentagon, mentioned as the fake client of this release, intended according to the fictitious words of a DARPA's officer 'to deliver to the men and the women working in some of the Pentagon's most challenging fields as inspiring soundtrack to their daily working life, but also to present to the general public information and a view hitherto unconsidered of some of the lesser known branches of our military' and the booklet included with this record explains the references of each track, alternatively quoting some Chomsky inspired anti-capitalist issues, the Hostmen of Newcastle upon Tyne ' being maybe the first example in human history of energy cartels controlling resources and inventing shortages in order to appeal to the unmerciful market rules, inspiring according Thrussel's words the nowadays cartels'¦ -, the manipulations of world bankers in order to generate illusions and hypnotize markets (The Wonderful Wizard of Ounce is definitively the funniest and most bitter title David could choose for 'affording' this theme!!!), neocolonialism, the inner mechanism of the so called 'free market', contemporary fears about forthcoming future and other actual more or less paranoid arguments.

His provocative joke seems consisting of wearing the mask of the controllers, spreading messages to the bovine masses in a witty and almost dramatic way, by using sounds as theatrical gesture and creating implicitly a possible soundtrack of our dark ages. From the musical viewpoint, Full Spectrum Dominance looks like an exhaustive summary of the previous breathings by the Black Lung, but I mostly prefer those tracks showing some ambience and atmospheric gears, such as the thoughtful and disquieting worried whispers of The Great Unconscious, an evocative collage of synthetic melodies standing as one of the best piece Thrussel had ever composed and which perfectly rendered the most buzzing divergence and the implicit imperfectness of any ordering supreme will, the disquieting beauty of the already mentioned The Wonderful Wizard of Ounce, the swarming concinnity of the bass intertwining some bizarre sounds in The Hostmen of Tyne, the dark sound granules of The Feminine Void which is going to carry your mind in the outer dumb spaces (!) and the gentle martial core as well as the stirred sounds on a disassembled march of The Neuroses of Nostalgia (another great immersive track!), but the most ominous techno crunched sounds you're going to hear in other appreciable tracks ' more easy to recognize by all those listeners which already tasted Black Lung's previous records ' should be considered just as parts of a whole. Maybe Full Spectrum Dominance is not so epic as other releases, but in my modest opinion it's the definitive proof that Thrussel's sound forging skills as well as its provocative grip reached some interesting peak indeed!