Terminal 313 Mix: Promos & Classics Vol. 5 (November 2015)


The tracklist with buy links:

ADMX-71 – Phenomenalist (L.I.E.S.)
As If – Nærvær (Silent Season)
Nautil – Galdae (Further Records)
Marco Bernardi – The Dancing Clowns (Berceuse Heroique)
3rd Face – Canto Della Liberta (Classic)
I.B.M. – Bless The Mission And Toil (Interdimensional Transmissions)
Liaisons Dangereuses – Dias Cortas (D.I.R.T.Y.)
Hüpnosaurus – Muru (Bookworms Remix) (Wicked Bass)
Tom Dicicco – We Let Go (Off Minor)
Mistake Made – Convenient (Vault Series)
Mark Verbos – Start Up Drive (Bunker New York)
Oudeis – Phantom Melodies (Trash Can Dance)
DJ ?Not – Race You To Hell (Hotel Lotte)
Israel Vines – Relapse (Interdimensional Transmissions)
Room 506 – Red Embers (Room 506)
Interr-Ference vs. Sulphur Surfer – Untitled (Bunker Records)
O/H – All Flesh (Inner Surface Music)
Drvg Cvltvre – My Mind Is A Compass (Diffuse Reality)
Davide Mancini – Rebels (Moderate Records)
Ontal – Seven Sorrows (Noiztank)
Perc – Hiding From Carl (Inner Surface Music) + Deutsch Nepal – Hard to Breathe (Autarkeia)
Lucindo – Act 133 (3TH Records)
Jeremiah R – Solar Impulse (Vortex Traks)

Hüpnosaurus – Where Am I? (Wicked Bass WB017 – 2015)


It would be unthinkable to speak about Estonian electronic music without saying a word about Hüpnosaurus (or Hypnosaurus), a project launched by Aivar Tõnso in the beginning of the 1990s and later co-run with Raul Saaremets, nowadays known as Ajukaja. Initially a live act of Tõnso and Railo Pals, Hüpnosaurus became an institution for synthetic sounds in Estonia, throwing impressive live gigs over the years at various locations and performing as a DJ team called Hypnitro Soundsystem.

The musical inspiration tracks back to Tõnso’s early age, when he got interested in electronic sounds and sci-fi fantasies, which all led to experimentations with music-making devices. Even when Tõnso enjoyed the BBC’s shortwave broadcasts of the John Peel Show or Latvian synth wizards Zodiac, Hüpnosaurus was operating in a sort of vacuum, where outside influences were limited – in a country that was locked behind the Iron Curtain that time.

It all lent a real independent, original touch to their productions, especially when the guys had to rely on (Eastern bloc) gear that happened to be available and didn’t have a chance to shop equipment catalogues.

Although Hüpnosaurus has been constantly around and has issued a couple of limited-run compilations on local outlets Ulmeplaadid and Kosmos Control, recent years have brought a revival. It started with a twelve for the Estonian label Porridge Bullet in 2013, followed by a compilation of 1991 and 1992 tracks and the next one came out on the Ukrainian imprint Wicked Bass, presenting Hüpnosaurus’s creations for the floor in a four-tracker “Where Am I?”

This is not the type of dance music you are used to, tells the opener “Muru”, a solid hardware jam with lush synth orchestration, which gets thereafter a monotone steel-brushed fix by L.I.E.S. bad boy Bookworms. In “Always In ‘N’ Out”, snare drums open the game, pairing with keyboard magic transmitted from dusty tapes to the present day and “Where Am I?” would stand the test with early material on Planet E.

Points: 9 of 10

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Giorgio Gigli – The Right Place Where Not To Be (Electric Deluxe EDLX 045 – 2015)


After two years of relative silence in the solo front, Giorgio Gigli has completed the debut album that can be seen as an attempt to challenge the stereotypes. In stark contrast with Gigli’s former droning and noisy floor tracks, the triple vinyl “The Right Place Where Not To Be” is focused on sounds closer to the ambient electronica. Something already heard in the 2010 track “Psychological Scene of the Imagination (Psychoacoustic Edit)”, his collab with Obtane on their own, by now discontinued Zooloft Records.

The release sounds quite exceptional also in Electric Deluxe’s catalogue, diverging from its ordinary banging material, especially when Gigli’s previous floor EP “Inside” on the same label did not predict what was coming. The new album is introspective, occasionally cinematic with dark undertones, reminding of the debut of Gigli’s fellow countryman Daniele Antezza as Inner8. The highlight and quintessence is “Il Futuro È Solo Un Ricordo Di Uno Stupendo Passato (Everything Begins Here)”, a ten-minute track on the single-sided third vinyl. However, the shamanic side is not missing either (“Through Leaden Clouds”) and slowly biting reverb journey “Surrounded” gets extra mention.

Along with Donato Dozzy, Claudio PRC, Dino Sabatini and others, Gigli belongs to the bunch of Italian techno producers who cut their teeth at the Elettronica Romana, a 2000s brethren of emerging artists from the Italian capital city. The debut album introduces a new chapter, expressing to some extent Gigli’s concert hall ambitions.

Points: 7 of 10

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LA Synthesis – Agraphobia Relapse (De:tuned ASGDE008 – 2015)

ASGDE008_sleeve_frontInitially a party organisation from Belgium, De:tuned has become a record label for reanimating the sounds from electronic music’s early days. Either new or unreleased material by artists like Mike Dred, Thomas P. Heckmann, Steve Stoll has seen the daylight on the label that completed the year 2014 with a whopping five-record box set “5 Years De:tuned“.

For the first time, the track “Agraphobia” was released in 1994 on Plink Plonk, a pioneering techno label co-founded by Mr. C (of Shamen). It was the breakthrough for LA Synthesis, a two-man project by Tony Gallagher and Carl Grant formed in London in 1992. While the term ‘agraphobia’ stands for complicated psychological disorder, encompassing abstract fears of abusive relationships, the actual track belongs firmly to techno’s dreamy side and gets now a deserved remastered reissue.

Butterfly-themed sleeve and label art by no one else than Abdul Haqq (Third Earth) introduces fragile yet driving original where spectacular synth riff is craving for extra attention. The theme of eloquent strings and warm pads resumes in scintillating versions by Plaid and Ian O’Brien before Terrace arrives with a stronger bass kick and abundant chords, bringing tears to the eyes with a divine synth attack at the mid-track. After ADJ’s classic IDM rework, Carl Finlow comes with a robust electro-esque “Transmogrify Remix” in caustic glaze. A timeless package bringing brightness to the life.

Points: 9 of 10

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DUST OFF: Spesimen – Delight of Babylon (Amici Curiae Recordings CASE-385 – 2001)

spesimen_blogAndy Crosby got hooked on the electronic music in the 1990s while he was studying computer science at the University of Michigan in Ann Arbor. Surrounded by computers and Detroit’s powerful halo, Crosby adopted the artist name Spesimen and established electro label Infocalypse Recordings in 1996.

It was the time when another Ann Arbor label, Interdimensional Transmissions, had emerged with first releases, to become via “From Beyond” an enduring operation for the next twenty years and more. The story with Infocalypse was different: A short-lived imprint, which was able to release only two, now very sought-after EPs, “The Pupae” and “The Larval Stage”.

Spesimen’s “Delight Of Babylon” followed the Infocalypse phase in 2001 and remained the only release of Amici Curiae Recordings. The title track of the finely produced EP is a dubbed out interpretation of electro with fondling synth passages. The B-side is of stricter kind, featuring “Sir Popsalot” and nocturnal roller “Centali”, the EP’s highlight.

Crosby has later worked as game and sound designer in the video game industry and after 2003 EP on Pomelo, there haven’t been any new Spesimen transmissions, except for occasional uploads to Soundcloud and Youtube. Despite of rare appearances, Spesimen’s contribution to the electro scene has been a significant one.

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I.B.M. – From The Land Of Rape & Honey (The Suppressed Tapes ) 1995 – 2005 (Interdimensional Transmissions IT35 – 2015)

ibm_from_the_landElectronic music’s foremost Afro-futurist keeps up the connection to Interdimensional Transmissions: Ten years after the label debut as I.B.M. (=Insane Black Man), Jamal Moss reappears at the Ann Arbor squad under the same alias. It turns out that Moss had something to hide back in the days, because the double vinyl “From The Land Of Rape And Honey” is collected from a number of lost tapes covering the period from 1995 to 2005, meaning that for some tracks it took about 20 years to get released.

Sometimes ‘unreleased’ or ‘forgotten’ stand for leftovers that are expected to give an extra push to an artist’s ailing career. For Moss, it is definitely not an issue because of his prominent position in today’s electronics. What’s even better, the album-length material of 10 tracks spread over 60 minutes does not really have any weak spots.

The Chicago madman’s compelling ride combines his first-hand experience from Ron Hardy’s Music Box and harsh industrial sounds from decades ago, sort of amalgamation that bars the entry into the comfort zone. I.B.M. is ruling over a promised land of intense drums and distorted provocative funkiness and all compositions.

There is plenty of action between the first and last tones of the album. Just take metallic slo-mo convulsions of “2nd Soul Of The First Body”, vortical Poindexter-style assault “A Madness Shared By 2”, experimental jazz & swing theme “Sanctification For The Heathens” or dry bass abstractions in “Ministry”.

‘There is no blackness or whiteness in music’, Moss once told in an interview for Wire magazine, but the presence of the spirit of African natives appears in many parts, like in the wild, thoroughly distorted rites in “Tribal Retributions”. “Bless The Mission And Toil” comes with a strong Liaisons Dangereuses feel and “Babel” features shrill acid distortions we haven’t heard since Paul Birken’s “Acid Youth Of Malibu”.

It’s all about a roaring lion.

Points: 9 of 10

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Ancient Methods – Turn Ice Realities Into Fire Dreams (Hands Productions V071 – 2015)


Ancient Methods has been a driving force behind the surge of dark industrial techno, a genre that is showing signs of saturation when numerous aspiring producers try to catch ‘the trend’. However, “Turn Ice Realities Into Fire Dreams”, the first Ancient Methods solo work in two years, proves that core values of industrial techno are not lost.

After 2013 release “Seventh Seal”, that could have been the requiem of the self-titled label, the Berlin-based master of pitch black techno funk has been busy with remixes and collabs, if to mention brilliant Powell reworks on Diagonal and joint projects with Black Egg or Orphx (=Eschaton).

In the new EP for the German label Hands Productions, the opener “Guided By The Force Of Compassion” welcomes with familiar set of slicing rhythms and synth-induced sonic shots, whereas occasionally it sounds like Underworld’s “Rez” had been sampled. “Protection Had To Be Given” sees the sword-swinging mercenary in full combat and lethal strings of “This Is All I Could Do” do not offer any relief when Oriental dust settles over spiritual recital. The final shivers come with the surreal “My Ice Baby”, the EP’s best track where helium-voice narration is mixed with creeping percussion for a freaky masquerade in gothic ballroom.

Points: 8 of 10

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Various – Vortex Traks Vol. 1 (VTX001 – 2015)

VTX001_artworkThe opening chapter of the Berlin-based Vortex Traks is dedicated to electro and more precisely to its melodic side. Four trusted artists are summoned to mark the label launch with productions that gladly unite the bass factor with relaxing elements.

Before walking in moodier paths, the pressure is put on by Tatu Metsätähti, a Finnish producer and one half of the Mr. Velcro Fastener. He challenges the floor under the Mesak alias with battering bass wrestling futuristic thuds and beeps in “Ketale”.

Jeremiah R.’s inclusion in the mini compilation is a very welcome move, when thinking about his rare but convincing material on the labels like Tabernacle, Enklav. or Bakk. His positively laden “Solar Impulse” features crystal-clear pads and layers, to produce a reminder of 1990s warm intelligent techno.

In “Forbidden Capital”, Mesak’s fellow countryman Matti Turunen, known from the project Morphology, seeks harmonies between scintillating acidic sequences and touches of dub, making it a premium-class tune for extended enjoyment. The last trak, “A Reading From The Misanthropist’s Guide To Romance”, comes from the producer Automatic Tasty (CPU, Lunar Disko) and forecasts sunny skies with a gust of Herbie Hancock’s funk.

Vortex Traks is run by two fellows, coded as Vertical67 and Naks, and though they both are big fans of electro, the label will not be limited to this genre and more variety can be expected in the future.

Points: 8 of 10

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Marc W. Floyd aka Agent Chaos – Medicated Psychosis (Underground Resistance UR-053 – 2015)

20150815_085900For Underground Resistance it has become customary to issue a white label and sell it via Submerge Mailorder well before the official release hits the crates.

It’s the same story with “Medicated Psychosis”, a new EP by Marc W. Floyd aka Agent Chaos. UR-053 is about genuine Motor City funk with attitude, which in vocal parts defies the pharma industry and addresses the hazards of excessive medication.

‘Don’t swallow the pill, study other methods, use your own will’, goes the advice and leads to two versions of “Trapped In The Meds”. Proven UR textures carry the narration in “Lithium Lobotomy Mix” while the B-side’s sturdy “I Will Be Back One Day Mix” shows heavier assets, partly reminding of “Electronic Warfare”.

Points: 7 of 10

Stream a clip of “Trapped In The Meds (I Will Be Back One Day Mix)” / Copyright: Submerge.

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Privacy – Human Resource Exploitation Manual (Lobster Theremin LTBLK006 – 2015)

20151003_153635And here we have “Human Resource Exploitation Manual”, which is not a classified folder from the depths of HR department, but actually the fourth EP of the enigmatic electro act Privacy. After “Command Pattern EP” on Klasse Wrecks, Privacy has decided to satisfy the mankind’s need for further electro shocks, when visiting on Lobster Theremin, a talked-about label of the moment.

In a fashionable manner, the paper-sleeved black label vinyl comes with A4 insert of random texts about coercive techniques, but the design does not luckily win over the music. The opener “Constant Transient” is a sinister electro piece we know from Ultradyne and it combines growling sequences with toxic acid drops on synthetic strings a la Kraftwerk.

Stomping and tweaking A2 track “Code” is an attempt of lethal repetition, but because of a seemingly endless synth loop it becomes quickly annoying. But, in magnificent manner, the previous miss is made up by “Apex Predator”, a rocking showdown of charging 808 stabs and dismal breakbeats, creating a strong demand for respins. “Human Resource Exploitation Manual”, much recommended for a hell of a party.

Points: 8 of 10

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