Redeemer is the brutally seductive debut album by Phase Fatale, a key player in the recent charge of EBM and post punk-informed industrial techno infecting ‘floors from his home city, NYC to his DJ residency at Berghain, Berlin.
In Dominick Fernow’s Hospital Productions, Phase Fatale finds a fitting home for his personalised brand of clinical, rictus rhythm programming and searing synth and guitar lines, adding a vital streak of black and blue electric energy to the legendary label in its 20th year of cultish operation.
In seven parts (and a trio of extended Silent Servant mixes due to come), Redeemer follows the direct, jagged lines of his 12”s for Jealous God and Unterton to a deeply personal realisation of weaponised sonics, upholding a strong tradition of techno as a prophetic exercise or ritual to gird dancers and listeners for the onset of future war. It presents Phase Fatale as an ultimate emissary of electronic violence and domination in the process, steeling the limbic system and muscle memory thru a fine-tuned disciplinarian approach to pharmacokinetics and biomechanics.
Picking from the leather-bound cadaver of industrial dance music past, he reanimates his influences with pointillist precision and unapologetic force. Alloying muscular bass and metallic percussion with wire-combed 16th note synthlines and a barbed perimeter of guitar distortion, his sound can be heard as a metaphorical representation of holding your line against the attrition of a degenerated present.
Each track dances concisely around the 5 minute mark, unfolding a series of densely packed and subtly rendered minimalist/maximalist structures. The shuddering tension of Spoken Ashes opens with banks of rotted chorales against a coalface of hacking stabs, establishing a pent vibe that vacillates precariously thru the adrenalised battery of Operate Within, to the clenched funk of Human Shield and the bombed-out, Alberich-alike Interference, seeming to resolve slightly with the supple roll of Order of Severity, before Beast bottoms out into immolating synth distortion, and Redeemer brings up the rear with a coolly-tempered, stoic form of industrial ecstasy.
Haunting new renditions of renaissance chamber music, interpreted with vocals and acoustic and electronic instruments. One to check if you liked Akira Rabelais’ Spellwauerynsherde or indeed any of Chauveau’s sublime releases for Type or Fat Cat etc
“All pieces of the Renaissance Repertoire come from Cancionero de Colombina (around 1470) or Cancionero de Palacio (around 1510). Both sources are well known for their typical Spanish repertoire of this period. Electronic music artist Sylvain Chauveau did new versions of several tracks and added also some drones to the program. Daniel Manhart did the compilation and the additional sound design and mixing. All pieces on this CD are hardly ever performed or recorded -- a fine, sensitive, interesting crossover between early music and contemporary electronic music with a repertoire mostly unknown.
Sylvain Chauveau has made solo records on labels such as FatCat, Type, Les Disques du Soleil et de l'Acier, and Brocoli: very minimal compositions for acoustic instruments, electronics, and vocals. His music has been played in John Peel's show on the BBC and reviewed in The Wire, Pitchfork, Mojo, Les Inrockuptibles, Libération, The Washington Post, and many others. One of his tracks was published on the compilation XVI Reflections on Classical Music (2009) alongside pieces by Philip Glass, Gavin Bryars, and Ryuichi Sakamoto. He has played live around the world (Europe, America, Asia), performed in museums and art galleries, and was artist in residence at the Villa Kujoyama (Kyoto, 2011), Fundacao Serralves (Porto, 2011), and Lieu Unique (Nantes, 2004 and 2014).
Chant 1450 Renaissance Ensemble sings and plays the sacred and secular repertoire of the 15th and 16th century. Including musicians trained at the widely renowned college for early music Schola cantorum in Basel, Switzerland, chant 1450 appeared live in January 2005 and then sang for a highly acclaimed first tour in Switzerland with La contenance angloise -- sacred music of the 15th century, followed by more than 150 live performances in Germany, Italy, Czech Republic, and Switzerland until today. Chant 1450 was invited to major festivals like the Rheingau Festival (Germany), the Montalbâne Festival (Germany), Festival for Early Music Zurich, and many more. Artistic Director and responsible for all programs and recordings, including sound design, is Daniel Manhart, a tenor born in Switzerland.”
Compiling the first 3 albums in the 'Everywhere At The End Of Time' series - two and a half hours long, each album reveals new points of progression, loss and disintegration, progressively falling further and further towards the abyss of complete memory loss and nothingness...
Embarking on the Caretaker’s final journey with the familiar vernacular of abraded shellac 78s and their ghostly waltzes to emulate the entropic effect of a mind becoming detached from everyone else’s sense of reality and coming to terms with their own, altered, and ever more elusive sense of ontology.
The series aims to enlighten our understanding of dementia by breaking it down into a series of stages that provide a haunting guide to its progression, deterioration and disintegration and the way that people experience it according to a range of impending factors.
In other words, Everywhere At The End of Time probes some of the most important questions about modern music’s place in a world that’s increasingly haunted or even choked by the tightening noose of feedback loops of influence; perceptibly questioning the value of old memories as opposed to the creation of new ones, and, likewise the fidelity of those musical memories which remain, and whether we can properly recollect them from the mire of our faulty memory banks without the luxury of choice
Pivotal A’dam players, Juju & Jordash move beyond the themes of Techno Primitivism  and Clean-Cut  to arrive in serene, Far Eastern and African-facing house-not-house zones with Sis-Boom-Bah!
The vibe is assuredly home-listening, leaving the club in pursuit of coolly introspective dimensions, guided by gently rolling deep house impulses and populated with myriad synth voices in a most sublime version of the devilishly detailed, hardware-driven style they’ve honed since 2004.
Ok there are tracks you could dance to, if the mood takes you with the deep (inner) space techno of Attack The Crwod, and the buoyant, chromatic twirl of Back Tuck Basket Toss, but the biggest attraction iOS the way they weave those tracks into he album’s warp and weft, in equilibrium with more etheric, esoteric gestures such as the rippling gamelans of Herkie at the front, or the 4th world rhythmelodic cadence of Paper Doll, and the quietly deliquescent charms of hanging Pyramid.
After releases on Fifth Wall and Grizzly, Physical Therapy returns for a follow up to the first release on his own Allergy Season label, with the EP "Million Years Crushed." Three cuts of maximal electronic dance music, along with a deep retrofit from Berghain resident Norman Nodge.
*Hand-numbered edition of 300 on orange vinyl* Diverse collection of House, Italo-pop and Boogie numbers from North Wales. A-side is given to the House cuts, taking in Luv Jam's snuffling, woozy '4% Hedgehog', besides the deep and classy swing of wAFF's 'KT B' and CY's frilly minimal House tune 'Queensbridge Chatta'. Flipside features piano-driven '90s Boogie-Pop from Yasmin Lebonque and 'The Castle Ooibonck', plus epic arpeggios from Good Guy Mikesh & Filburt, and Balearic boogie from Dunder Karlsson.
Tertiary 12" of somnambulant deep house from winding Nidd Valley of Knaresborough, England. Up top Gnork deals the acid and breaks-spliced groover 'Gnork W.1.3' beside Mr Fiel's dub house stepper, 'Awakening Of The Nature'. Down below Ratcatcher goes a shade darker with the rolling square bass line and hypnotic hooks of 'Marsupial Dreams' and Acasual eases off with crisp, swinging 909 hi-hats and simmering chords on 'Spring Theory'.