Legendary noise musicians Philip and Richard Rupenus of The New Blockaders join forces with trash-noise mastermind, Nobuo Yamada, on this one-sided limited print 12" vinyl remixing the apocalyptic rumblings of Prickle/Crevice; a track originally released on the even more limited print CD-r, "Empty Time of TNB." These artists have been active practitioners in the underground noise scene, releasing some of the most aggressive and staggering sounds imaginable for well over a decade. With that in mind it is easy to draw assumptions of what might be heard on this, their newest collaborative offering. Assumptions or not, one thing is blatantly obvious: this release is completely insane.

The quality is questionable at first--sounding more like some kids in a room throwing a bucket around than anything--but within a moment’s time the distorted metallic clanking coupled with chipmunk-like shrieking, subtle feedback and a feverish pace quickly becomes a symphony of battered metal; mounting and ripping into the innocent and still screaming chipmunk-like beings. The pace continues to quicken and the intensity continues to mount until something finally shatters and glass shards explode into the scene, creating an even more viscerally-wrenching atmosphere. By only six minutes into this release the battered chipmunks I’ve grown so accustomed to are all but drowned out, beaten and torn, by the sarcophagy of hell. The turbulent sea of noise eventually calms and quiets to make room for the erotic and painful sounds of torture and screaming; no longer chipmunks, the pain manifests itself into living, breathing people. Simply put, this release is a bad acid trip incarnate.

The New Blockaders and Nobuo Yamada’s Prickle/Crevice 12" turns from the simple knocking of buckets into a flirtation with pure chaos so quickly it will leave you reeling. I have no idea what these guys were doing when they recorded this, but I sincerely wish I could have been there to see it. Is this album for everyone? No way. But after listening to this release I am convinced that any true noise fan would gladly wet him/herself to get their hands on this gem.

Industrial music hybrid Cyanotic is a project by Sean Payne, Drew Rosander, and Brian Blake, three virtual unknowns, working under the production lead of Jason Novak (Acumen Nation, DJ? Acucrack) and Chris Cozort (Iammynewt). With their first full-length album, Transhuman, Cyanotic immediately prove their worth; ignoring the unspoken laws of how industrial/club music should be written and instead tearing out one of the most brutal and well composed releases of the current century.

Transhuman mixes the harsh industrial-metal guitars of Ministry, the abrasive breakcore beats and glitches of Venetian Snares, and the dance-floor crushing EBM sounds of Front Line Assembly and Numb; all with a precision that will leave fans of the afore-mentioned bands staring on in a stupor. This release is so aggressive?especially the opening tracks?that it makes me want to get incredibly drunk and beat the living crap out of the first person or thing I see. Seriously.

It isn’t very often that a new industrial band has the potential to make such an impact above and beyond their own genre. Cyanotic has enough energy and brutality behind their first full-length album, and enough support by popular bands and labels alike to make Transhuman a big success. Cyanotic is in a very good position to take Transhuman and force-feed aggressive music fans everywhere the meal they’ve been begging for.

Eccentric, electronic southern folk-rocker Downey Burns is back for his fifth release, Bethoven’s Taxi. Anyone who has previously heard Burns’ work is familiar with his off-kilter recording and vocal style, but for those of you that haven’t had the opportunity let me just say that it’s "different." I’m not sure I could put Leaftree and Downey in a genre if I tried. Burns fuses a myriad of genres ranging from country, 80’s new wave, classical, folk and then some, all with a strong electronic theme like none other.

The first thing that struck me about Beethoven’s Taxi is the more personal touch. Burns’ cynical viewpoints on social values are expressed not with rage or anger, but almost passively with a hint of sorrow and sadness. Burns seems to be approaching music a little more seriously on Beethoven’s Taxi as well, vocally melodizing more and integrating multiple new musical styles. Almost half of the CD is comprised of instrumental tracks that introduce what seems like randomized forays into new genres; making Beethoven’s Taxi not only a sentimental ride, but also an extremely interesting one sure to surprise even the most prepared Leaftree and Downey fan.

I really like Beethoven’s Taxi. Downey Burns’ strange/estranged lyrics make me grin, and his curiously crafty approach to music makes me grin a little more. Anyone who appreciated Leaftree and Downey’s previous releases or anyone who enjoys left-field music is sure to enjoy this album. As with Leaftree and Downey’s previous release, Wet Kisses, Beethoven’s Taxi is available for free at http://www.leaftreeanddowney.com (for a suggested donation).

Autoclav1.1 is industrial music veteran Tony Young. Young, though a new name for many, has spent years behind the scenes working with various influential labels and artists. Young now brings the culmination of his experiences to the table beginning with the No Protocol EP, his first of three releases this year as Autoclav1.1.

The first track, "Dirty Bomb," sets a calming, ambient mood filled with mechanized droning and steady beats?serving as an ear-pleasing introduction and a promising glimpse at things to come. The pace quickly changes with the next track "Intention," injecting fast, complex rhythms over the ambient patterns previously introduced. From there, Young takes advantage of every chance to add to the endlessly mounting musical environments that rise and fall beneath his uniquely structured percussion sequences; fusing tribal, IDM, and noise-core sensibilities into a style all his own.

Autoclav1.1’s No Protocol EP grows in intensity with an unstoppable momentum. By the time the album clocks its last beat at an all too early 28 minutes and 33 seconds, the brain is in denial and the repeat button is screaming to be hit. No Protocol is addictive, and a welcome addiction at that. Young has implied that his next two releases will be stronger and better--which seems a difficult task. After what he accomplished with the No Protocol EP, however; I'm inclined to believe he will deliver on the promise. This is definitely an artist to keep an eye on, I have no doubt he will go far.

DavidR-XV seemingly comes from nowhere with the album Le Funeral Lounge, the second release by the obscure prodigy known only as DavidR; recording, mixing, and mastering this wonderful work of technoid IDM and meeting standards well beyond what I’d expect from a self-released artist. From the very beginning there is an uncanny sense of familiarity and comfort. Drifting ambient textures, grooving beats and an overall grasp of what makes a song enjoyable?Le Funeral Lounge sounds and feels like a long lost album that I’ve always loved but never heard.

DavidR’s sound is very close to, and I’d venture to say heavily inspired by, early 90’s IDM. Le Funeral Lounge reminds me of Warp/Wax Trax’s Artificial Intelligence series, mixing the jazzed grooves of B-12 with the complexity of early Autechre, atmospheres of Polygon Window, and the perpetuating beats of Black Dog Productions. Le Funeral Lounge is the perfect compliment to this series, and a welcome return to more listener-friendly IDM. In Le Funeral Lounge DavidR manages to pay tribute to the strongest era of IDM while keeping his sound fresh and interesting.

DavidR-VX’s Le Funeral Lounge is the perfect IDM sound for anyone. Intricate and layered enough for the smart listener while retaining enough structure for the average ear. Le Funeral Lounge is an excellent album that, unlike many IDM releases I own, plays from start to finish every time I listen to it. If you have the means I strongly suggest adding this to your collection today.