The long-awaited debut of the new announced moniker of the duo made up of the Lille based "historical" EBM agit-props Frédéric Sebastien and Dominique Lallement which can be considered as the legitimate son of the former Kriegbereit, one of the project active since the second half of the 80s which gained a certain notoriety out of French boundaries strictly related to the embryonic sound of the Belgian industrial waves (especially to the praiseworthily stunning one whose ensigns are with no doubts Front 242) propelled by Monsieur Lallement, also active with the moniker Cobalt 60 (obscure project inside which a rebel youngster Jean-Luc DeMeyer â?“ you should know the name of the above-mentioned band was famous for his rushing growls on the microphone... -, whose name was borrowed not only from the radioactive and dangerous isotope of cobalt, but also from an almost unknown comics series by the American cartoonist Vaughn Bodé with the same name, whose plot â?“ the revenge of Cobalt60 for the death of his parents, murdered by the evil Stronzium 90! â?“ takes place in a post apocalyptic world crowded with aliens, mutants and strange human hybrids, which could be perfectly set to music by K-Bereit as well!) is a well-crafted exulceration of the glorious old-school EBM â?“ an indefinite nostalgic touch is added by the sound of unrecorded vinyl wisely inserted between a track and the next one as well as from track 16 to 59 just before the bonus "hidden" track... ! -, whose venomous lyrics, leathery beats and distorted sounds are going to be dropped mainly on trained dance-floors as we think itâ??s not so fitted for personal listening as it could result a bit monotonous unless you find their rifle-fires on electronic drums and neurotic sounds which seems coming directly from a stoke-hole fitted enough to your eardrums., especially when youâ??ll be conscious about the collaborative presence of other EBM-industrial famous stokers, among which Punish Yourself, the great Swedish act Autodafeh- as well as label mates coming from the hard-hitting roster of the Texan label Sigsaly Transmissions -, Dolls of Pain â?“ we highly reccomend to download (for free) a collection of remixes of their album, Cybersex, entitled Cybertransmissions on the website of this exquisite band from Strasbourg... - and Signal Aout 42 â?“ another interesting EBM act coming from Belgium and quite close to the glorious DAF -. Tracks such as In/Visible, Liar (be honest or prepare to be fired, folks!!!), Mutilation and Use Your Strap-on! are the best songs according our ear response! Even if quite nostalgic and intimately related to the old way of assembling bodily electronic music for bodiesâ?? and brainsâ?? perspiration, we could bet that most renowned Ebm parties will play this record very frequently. K-Bereit looks ready for a war...you have just to take your gas masks and latex boots out of your wardrobes to ger ready for their violent sound attacks whis are going to shake your ass and march on your favorite dark floors.

It seems the sixth act of the whimsical ambient project Shadowdream by the eclectic black metal Serbian (from Novi Sad) musician Rastko Peri�ic aka Nocturnal has been composed during restless sessions of astronomical observations even if someone could imagine that it could derives from the musical reports of OOBEs during which Rastkoâ??s astral body wandered around the Solar System with a tape recorder to grab frequencies from objects that conventional space observers could just observe from cheap telescopes! Iâ??ve to admit that when I saw the cover artwork I thought it was another psychedelic/goa/trance project and I also acknowledge my mistake when I listened to the very first seconds of the record which let me think about a contemptible restyling of Origami Galaktica-like diluted stuff... Itâ??s better not to be too simpleton as well particularly when you could easily get astonished by the accuracy of Rastko in dissecting microtonal pulses wisely interwoven with sounds (bodily bass hyper-tones, synthetic whiffs, seraphic choruses and hypnotic church organâ??s tonal webs as well as that mood which seems to be pervaded with deep sorrow and melancholy whirling inside every touchy moment of the record) which seems to be snuffed from necromantic black candles of the darkest side of black metal, a transition which you could imagine if youâ??ve already heard something coming from subterranean similar projects such as Vinterriket or Blut Aus Nord, but what makes this album different from the ones signed by the above-mentioned artists stands in some tricky compositional elements getting Part Of The Infinity very close to soundtracks and classical music, a sort of contemporary postlude (or arguably a nocturnal emission... ) you could listen after you watch the cosmic dances of planets and stars embellishing the darkness of a nocturnal sky. Some tracks are so impressive that you could even feel yourself enshrouded by sound; among them Iâ??ve found really impressive tracks such as Planetary Rings of Saturn, Unknown Cycles of Venus and... well... I think you could agree with me that dark ambient anthems like A Trip Trough The Neptune Clouds could taste like laudanum... How many times in your lifetime could you say youâ??ve felt a Part of the Infinity?!?!? From the conceptual viewpoint, Shadowdreamâ??s last chapter (whose essence in Rastkoâ??s words could be summarized by the following adagio coined by Norman Douglas: "The sublimity of wisdom is to do those things living, which are desired when dying... ") seems to make a tribute not only to one of the most fascinating scientific branch (astronomy) but also to its historical father, the Italian astronomer Galileo Galilei, one of the luminous mind of all times, and this dedication turns Part of the Infinity into the right record at the right time as 2009 - as most of you know â?“ is the International Year of Astronomy.

Mano Nera (�A Manu Niura in Sicilian idiom) was a particular method of extorsion, exported by some Italian immigrants in the United States in the end of 19th century, generally beginning with a letter addressed to the target threatening kidnapping, murder or harms if the victim didnâ??t decide to satisfy black handersâ?? request (normally consisting of requests of large amounts of money). The name "Mano Nera" (Blach Hand) derived from one of the most common ways of signing this love letters, i.e. an hand imprinted in black ink. We could argue that the Italian free-jazz and improv combo Ffatso has decided to entitle this record not only in order to give an appropriate name to a sort of musical score on Al Capone, the historical character widely considered the symbol of Italian-American gangsterism, but also to refer to their particular style, featuring a lot of references to the swirling tradition of jazz (as it was played and "felt" in the first urban Afro-American communities... have an eyebeam and a reading on the Wu Ming releases to have an idea... ). The three members of the band â?“ the saxophonist Stefano Ferrian, the bass player Dominik Gawara and the drummer Stefano Colli â?“ demonstrate to be very skilled in weaving slices of improvised jazz wires in order to evoke a gangsterâ??s scenario and the madness of Mafia wars for the control of territories which "blood-painted" the streets of the biggest American cities in the first half of the previous century. They offer a somewhat synesthetic music experience as you could easily "see" the smoggy Chicago and New York streets of the Prohibition period, the violent eruption of a merciless massacre â?“ itâ??s mentioned one of the most ferocious one in the title of a track 2122 North Clark Street, theatre of the so-called St.Valentineâ??s Day Massacre -, the drumming explosions of gunshots, the suspicious characters in raincoats tilting their hats over their eyes while smoking cigars standing on the rear entrance of a distillery depot, the grime look of Al Capone and the Five Pointers, even their attitude and stereotyped movements as screened in a Godfatherâ??s sequence, the flash pasting of Old Cadillacs loaded with killers, the machine gun clattering, the expressional wrinkles of a typical resolute face of a Prohibition Agent (the notorious Eliot Ness is mentioned in one track, the famous leader of The Untouchables and the greatest enemy of Al Capone, which was defeated by the frightening weapon of tax evasion... Mister Ness should be charge by a large amount of work, if still in life today... ) and so on inside the frenzy drum sessions, the infective heavy bass plucking , the rushing fawning and the raving howl of the sax as well as inside the whole choral sound performed by this band and their tone-rolling a go-go which has nothing to share with more "polite" expressions normally associated with music scores for gangster movie on Mafia (you will not hear any remake of Piero Umiliani), but itâ??s supposedly more able to evoke and highlight such a theme in an easily appreciable vivid and emotional way, a plot which has been carefully dissected by Ffatso in its own harsh aspect through a cascade of instrumental improvised pulsations! Tracks such as the cinematic 2122 North Clark Street, the most experimental 1945 Apoplectic and Leaving CDS are surely the highest remarks of this interesting opus!

Younger generations could just imagine the explosive ferment swirling in the crowded classrooms of 80s English artsâ?? schools and what it happened in the Coventryâ??s ones was something that would have some consequences on the way of music making. Coventry is not only one of the milestones of 2-Tone ska, but also of verified intersections between various musical genres with DIY punkish attitude and one of the founder of the most "evergreen" electronic music band coming from those music fields, Martin Bowes â?“ originally giving a precious contribute to give a voice to the Coventry scene through his Xeroxed fanzine entitled Alternative Sounds â?“ is conscious about that and we could easily say that he worked as a sort of magnetic stone grabbing different sources for inspiration of moods and musical ideas orbiting around Coventryâ??s school backyards! We widely illustrated and gave support to this big work of reissues of some of their best albums as a consequence of the renewed interest in their rich repertoire. Thatâ??s why weâ??re proud of announcing the reissue of one of their most interesting release â?“ a respectable enterprise by Two Gods recordings -, A Tricky Business, an album which was partially performed in the mentioned arts school, but release only in the beginning of the 90s by the Italian music label Contempo. You could wonder why the fashion hierarchy press didnâ??t give any visibility to them, but nowadays time has changed and the overstanding interest in the roots of electronic music has given the possibility (better later than never!) to know the most unpredictable voices coming from the music produced in a past not so really remote... A potentially tricky business as well!!! By the way, you could easily notice that this album is not only an excellent mixture of dark-wave, industrial rock and steaming slices of Euro-pop, but also a melting pot of black humour, romantic lyrics (I particularly appreciate the general mood expressed in The Rising Tide... really tear-jerker!!!...as well as the erudite lyrics â?“ and music as well... - of First Love... Mr.Bowes, if youâ??re reading to this review, well... I have to admit we shared your second love... I hope youâ??re not jealous!), gothic â?“erotic fades (... the forerunners of philosophy standinâ?? behind a potential suicide girl could be find by cruelest commentators in the lovely "Can I be you right hand man?" lovely sung by Julia Niblock, the second Attrition leg!!!), ghostly tinged eyes peering into the gloom (or better into some glooms!!!), the entrancing lyrical grip and the breathy voice of A Girl Called Harmony... We invite to discover by yourself other parenthesis of this interesting document from this great English band... Iâ??m just noticing I repeated the word "Coventry" too many times... Thereâ??s no 6 without 7... Our respect to Coventryâ??s juiciest music fruits! ... and to Attritionâ??s music of course!

Once upon a time there was an album called Sylt. Their creator and craftsmen, Ollie Brown and Sam Britton, could never imagine that, after they changed course from theme variations on drumâ??nâ??bass (... appreciated for their renowned ability in lavishing scraps of minimal techno, psychedelic rock, avant-garde classical music and free jazz on hyperkinetic dnb rhythms... ) to avantgarde experimental artifacts, this nice workouts would have been so acclaimed that the Danish label Rump Recordings could decide to issue a collection of remixes. But the most astonishing thing that this collection of remixes looks like a sort of musical ambigram: you can listen to a remix, but by the way each track well represents a slice of the contemporary state-of-art of electronic musicâ??s wide universe and weâ??re almost sure that if you could listen it without knowing itâ??s a collection of remixes, you could imagine this release is a standing-alone album from a mysterious eclectic musician!!! Or maybe Icarus simply have satisfied their wish consisting of borrowing their legendary wax wings in their deafening sonic appearance to other potential explorer eager to learn some secrets of their musical flight... Youâ??re not going to take no account of this detail after youâ??ll listen the result. As a consequence of the running trend of dubstep spreading throughout the Old Continent, thereâ??s a vast assortment of dubby rhythmical movements among the mentioned explorations: we particularly appreciated the entrancing one proposed by the Throbbing Gristle collaborator Ivan Pavlov (ex Coil) aka oxy/CoH - his moniker doesnâ??t inherit with organic chemistry, but itâ??s a Cyrillic written Russian word meaning both sleep and dream... - as well as the powerful crescendo chosen by Karsten Pflum in order to give a new dress to the lovely anthem First Inf(E)Rænce. For an unknown reason, a lot of remixers have decided to re-assemble Keet mostly (thereâ??s also a remix or just to say better a sort of orchestral maquillage made up by Icarus itself... ), the track introducing to the listening of Sylt: maybe the most astonishing versions are the ones rebuilt by the abstracts trenches by Bjork-collaborator Opiate and the trickling drum patterns interweaving with flowy sounds by the esteemed Frank Bretschneider, but it could be easy to fall in love with the chinking rivulets tinged with a shoegaze-like vibe reminding the sunniest repertoire by Chemical Brothers instilled by Isan as well as the tonal dubbed-jazz insufflations by the label-mate Badun, which built an interesting and (a)melodic aggregate of noisy gears. But thereâ??s a plenty of highlights you will discover while listening to the album: the stretched frequencies having a tidy hip-hop hair of the inference in Zelaâ??s machine words, the 8-bit wood-shaving of Second Inf(E)Rænce exiting from the Swedish wizard Goto80â??s Commodore -!-, the dark dubstep (fitted to the tastes of Skull Discoâ??s fans) got out from Ital Tekâ??s laptop as well as the abstract distillate proposed by the refined improve-jazz duet of Isambard Khroustallov (just an alter ego for a solo project of Sam Britton, one of the two wings pushing Icarus nearby the sun... ) and the Swedish clarinetist and soprano saxophonist Lothar Ohlmeier... Last but not least a lovely trip-hop fuzzy lullaby as a remix of Jyske well-forged by Digitonal. The artwork â?“ with those London parakeets featuring a psychedelically colored plumage - is just a shot taken from a clip created by Alice Scott to the track Keet, available as a download from Icarus website as an accompaniment to the album.