Back catalogue: Industrial/Noise

Review: Gravers kicks off with a strong various artists release that sets out is electro stall in fine fashion. Kovyazin D opens up with the rugged and hard hitting electro-techno of 'Modularity' (feat Alexandr) with its stomping drums and frazzled synths. There is plenty of gothic energy to the slapping machismo of the acid laced'Proven Witch Psalm' from Antoni Maiovvi, then Millimetric offers up 'Espace' with a spiralling synth line and more caustic drums. Anton Levdikov closes down with 'Vardi' and a dark, driving bassline. This is a high impact EP for those who like it tough.

Review: M Parent's penchant for texture is laid bare on this searing and arresting new EP for Zement. It opens with 'Gravel Pit' which sounds like an audio diary from a car-wrecking plant. Twisted metal, fizzing battery acid, and crushed glass all feature over a distorted baseline and broken rhythm. Those same scuzzy sounds define the rest of the EP from the acid-laced 'Ideal Future' to the coruscated funk of 'Acid Thirst' via the caustic intensity of closer Climb These Walls'. An impressively unique offering that very much has its own singularly sound palette.

Review: Maahrt is the debut self titled EP from a mysterious producer about whom we know nothing.His new 12" opens up with an eerie bit of slow motion and cosmic techno with tortured pads. 'Clag' is another twisted mix of sinewy electronics and broken beats for dark back rooms, while 'Noma' then picks up the pace with a more weighted bottom end dragging its heels through an industrial wasteland. 'Noma' (A Strange Wedding remix) is more ready for club deployment thanks to its chugging groove and a final Odopt remix layer sin more melody, rickety drums and cosmic energy.

Review: The 140+ BPM revolution race with scarcely a look in the rear view mirror. Malaizy here dropping two tracks that show just how wild and weird stuff can get in this part of the dance music spectrum. 'Burgercome' itself has hints electroclash, juke, ghetto tech, footwork, and EBM, without fully committing itself to any of those things by way of a DIY punk on speed in a Parisian warehouse party vibe.

Over on the flip, 'Stuck' is an entirely different beast altogether, which probably isn't that surprising considering the unique and particularly niche nature of the opening tune. Rather than setting a break neck pace, instead we descend into a staccato amalgamation of white noise, distorted drums and inaudible human murmurings.

Review: Ground Groove is the third album from LA-based, Iranian-American producer and DJ, Maral. It begins with the sprawling, achingly heavy 'Feedback Jam', dense enough to distort reality crushed beneath the track's lumbering heartbeat and waves of distortion. As each wave recedes, samples trickle forward in the mix, voices and instruments rising and falling in uncanny reverse. 'Feedback Jam' serves both as an initiation ritual, and a thesis statement for the record that follows.
Composed largely on Ableton, Ground Groove features frequent 'live recordings from Maral on guitar, bass, and vocals - but to say it's a huge step up in mixing and audio quality is an understatement. The attention to detail is immense. 'Ground Groove's eleven tracks are 'grooves' in the obvious sense, each being driven by a persistent, propulsive rhythm, but the album's title may just as well suggest the glacial passage of time that standout voices like these emerge as landmarks.

Review: Downwards' latest release shines a light on Melbourne's famed experimental music scene by bringing together tracks from two of the city's most interesting artists. On side A there's a chance to savour all four tracks from Bonnie Mercer's previously cassette-only release Old Moon, New Moon, with the experienced artist combining elements of desert rock (fractured, discombobulated, fuzz-toned guitar textures) with droning tones, reverb-laden samples and gentle washes of ambient colour. Over on the flip YLP - the duo of Joshua Wells and Harry Schwind- take over, delivering a suite of suitably cosmic tracks heavily influenced by Spacemen 3, Suicide and Sun City Girls.