ALESSANDRO ADRIANI レコード& CD

Review: ***B-STOCK: Box damaged, product unused & in perfect condition***

- Creasing to corner of sleeve

Three years have passed since Alessandro Adriani impressed with his debut album, an industrial, EBM, techno and neo-trance inspired set that marked the Berlin-based Italian as a producer on the rise. "Morphic Dreams", his belated sequel, may explore some of the same influences, but Adriani's vision seems far more widescreen. Check, for example, the decaying urban ambience of "Casting The Runes", the buzzing and bubbling synth-wave throb of "Raindance", the tactile slo-mo bliss of Simon Crab collab "Dust/Mist" and the grandiose, rising intensity of dystopian soundscape "Crow". There are, of course, a number of muscular, EBM-influenced club cuts, with the Nitzer Ebb-esque "Dissolving Images" and fizzing "Storm Tree" standing out.

Review: Three years have passed since Alessandro Adriani impressed with his debut album, an industrial, EBM, techno and neo-trance inspired set that marked the Berlin-based Italian as a producer on the rise. "Morphic Dreams", his belated sequel, may explore some of the same influences, but Adriani's vision seems far more widescreen. Check, for example, the decaying urban ambience of "Casting The Runes", the buzzing and bubbling synth-wave throb of "Raindance", the tactile slo-mo bliss of Simon Crab collab "Dust/Mist" and the grandiose, rising intensity of dystopian soundscape "Crow". There are, of course, a number of muscular, EBM-influenced club cuts, with the Nitzer Ebb-esque "Dissolving Images" and fizzing "Storm Tree" standing out.

Review: Three years have passed since Alessandro Adriani impressed with his debut album, an industrial, EBM, techno and neo-trance inspired set that marked the Berlin-based Italian as a producer on the rise. "Morphic Dreams", his belated sequel, may explore some of the same influences, but Adriani's vision seems far more widescreen. Check, for example, the decaying urban ambience of "Casting The Runes", the buzzing and bubbling synth-wave throb of "Raindance", the tactile slo-mo bliss of Simon Crab collab "Dust/Mist" and the grandiose, rising intensity of dystopian soundscape "Crow". There are, of course, a number of muscular, EBM-influenced club cuts, with the Nitzer Ebb-esque "Dissolving Images" and fizzing "Storm Tree" standing out.

Review: Mannequin boss Alessandro Adriani has certainly stepped out from the shadows from his retrospective leaning label to create some brilliant modern EBM/industrial derivatives - that still give a respectful nod to their origins. For his newest release, he presents us with some fairly fierce offerings. "A Man Who Would Come Here Of His Own Free Will" is tough, acid-infused EBM that lunges for right he jugular. A does "He Is Everything & Nothing", the kind of techno-punk that's reminiscent of past work with Douglas Lee as An-I: could it possibly be him on vocals? Finally on the flip, the brooding darkwave of "You Never Sleep" features lovably cheesy '80s synth leads and Silent Servant style howls through walls of delay and distortion. You can just imagine PVC clad goths sweating it out to this one, in basements from Berlin to L.A. This follows up the re-issue of Adriani's excellent edit of Lata Ramasar's "The Greatest Name That Lives".

Review: Alessandro Adriani makes a surprising addition to Berlin techno imprint Stroboscopic Artefacts. The forward thinking label that dwells on the more experimental fringes of dancefloor sounds now taps a fellow Italian and Mannequin Records boss who serves up some fascinating techno derivatives. Harnessed no doubt by his time living in Berlin, but also put in practice as one half of An-I with NYC legend Douglas Lee. Much like Lee, Adriani gives an outsider's perspective on powerful body music by way of industrial sounds and experimentation with analogue electronics. "He Who Harnesses The Soul" opens proceedings in impressive fashion - we've never heard Adriani execute something so direct on this tunnelling and hypnotic stomper that will have huge crossover appeal. It's more like the artist we know on the brooding and powerful stomp of "Rituals" (707 EBM version). Finally we get treated to yet another minimalist and trance inducing number on "Astronomy" reminiscent of Sahko or Sleeparchive's sublime spell casting in the mid noughties.

Review: Alessandro Adriani, the Italian-born, Berlin-based owner of the excellent Mannequin Records is up on Regis, Silent Servant and James Ruskin's Jealous God label, what can pretty much be boiled down to the continuation of the Sandwell District alliance. The focus is on hard-hitting slabs of jack-hammer techno with the crew's familiar hint of brutal industrialism at the core, which is perfect for the likes of Adriani's uncompromising 4/4 aesthetic. "Harvest" dominates the entirety of the A-side with its wild, bleeping wormhole of noise and organic drum patterns - the snares sounding suspiciously like metal axes hitting the chopping board; one the flip, "Prehistory" is relatively tamer on the surface, while still hitting hard down in the depths of the bass, and "Death & Rebirth" provides what comes most naturally to both artist and label... the sweet sense of tenebrous doom on the horizon.

Review: Mannequin boss Alessandro Adriani returns to Stroboscopic Artefacts with 'Embryo' - an immersive four-track micro-odyssey spanning across jagged ambient scopes,unmapped acidic grounds and further leftfield-friendly sonic territories, opening up the path for his forthcoming sophomore LP and first ever for Stroboscopic Artefacts, 'Morphic Dreams'.

Review: Enter the World of Rubber. A new label endeavour from the hallowed Lowlands area of Den Haag surfaces in the shape of Rubber which launches with a most curious various artists 12". Alesandro Adriani is more commonly known for his curatorial skills at the head of Mannequin Records, but the Italian can clearly sequence a track on the basis of his opener "Death Move 1" which certainly sounds like he had the guttural sounds of The Hague in mind! Rubbing up alongside Adriani on the A-side is 0 5W, a Finnish techno project whose unpredictable "Aluco" will appeal to fans of the Borft label. Some Den Haag heritage lines the B-side as a slightly unnerving track from the mid-90s archives of Unit Moebius is given pride of place. We await further Rubber transmissions with interest!

Review: The second Murder Records EP is another uncompromising collection of brutalist techno. The Tbilisian label enlists Fractions & Zanias to open up with a stormy flurry of synths and frosted drums then Alessandro Adriani layers up more mechanical drums that demand you march while the brine frying synths melt your mind up top. Years of Denial then looks to EBM for its inspiration on 'Reverie' with deadpan vocals and haunting cold wave synths. This is caustic and coruscated stuff from start to finish that is best heard loud, in a super blackened and raw space.

Review: New Italian label Hiroshima 45 Chernobyl 86 Windows 95 present Pubblicazione 001. Starting off on the A side is Penelope's Fiance from Thessaloniki, who serves up a lo-fi and coldwave perspective of the Boards Of Canada on "Run & Gun", while Italians Rawmance and Security team up on the slo-mo EBM mutation of "Un Bon Flic" - bringing you the sound of latter's Knick Knack Yoda burger club in Rome. On the flip, Mannequin boss Alessandro Adriani gives us the gnarly 303 acid epic "Do Not Deliver Me Into The Enemy's Hands" and Raw Ambassador aka Antonio Barbetta gives us the early industrial sounds of "Attack, Attack!" with its rusty aesthetic calling to mind the classics of Portion Control or Skinny Puppy.

Review: Russian label Mosaique has thus far carried some serious heat from artists like JASSS, Caron and Savage Grounds, and now they're shifting their nightmarish electro tendencies back to the various artists format of their Universe series. Umwelt leads the charge on this second installment with the eerie machine snarl of "Fallen Empire", followed up by two versions of the devilish "Sleep When You Die" by Moralez & The Horrorist. Alessandro Adriani is first up on the B side with the driving, noirish techno pulse of "Cosmic Transmissions," and then Morah rounds things off with the squelchy, spiky workout "Track 5".