Review: Along with the likes of Photonz, The Off Key Hat and Gatto Fritto, new material from Binary Chaffinch will always be received with a certain degree of excitement thanks to their output on Andy Blake's iconic Dissident imprint. The dark brooding experimentalist EBM alias of Milo Smee, a key member of the slightly unnerving Chrome Hoof collective, this trio of new Binary Chaffinch proudctions on Cosmo Vitelli's I'm A Cliche imprint is a real reason to celebrate. Words don't really do "Heavenz Gate" justice. This is an epic track just shy of twenty minutes that barely squeezes on the A Side, with Smee utilising the talents of two vocalists, a choir and five other musicians. Filled with rhythmic twists and turns taking in heavy arpeggio and guitar solos, you need to hear this! Complementing this, the B Side contains the raw industrial flex of "Neoprone Wizard" which indulges in some brilliantly demented synth stabs, whilst "Theme" is quite possibly a weird and wonderful synthpop cover version of Henry Mancini's "Theme From Peter Gunn".
Review: Ahead of the release of Bot'Ox's album Babylon By Car, I'm A Cliche indulges us in one last round of appetite whetting via this handsome clutch of "Blue Steel" remixes. The original remains one of the most captivating pop songs crafted by electronic producers of recent times, but there's plenty of ingenuity shown across the remixes present. Still Going opt for the pulsing overdramatic techno stomp, discarding with the distinctive melody and wrapping a small section of the vocals in swathes of driving synths. I:Cube delivers a typically glacial deep house version that makes smart usage of the reverberating metallic melody amidst a sea of tense string arrangements and menacing bass patterns. Para One and Tacteel retain the vocals and elements of the aforementioned melody which reverberate beneath a fizzling bass heavy post hip-hop arrangement. Recent Relish additions Hannulelauri, fresh from Aeroplane chart love, add some cavernous delay to Anna Jean's vocals and slip them beneath a singular key stab groove augmented by a hip hugging bassline.
Review: By Cosmo Vitelli & Julien Briffaz (Tekel) duo. Following the acclaimed "Grand Central" on Marketing records, two outstanding tracks between acid & Krautrock (yes!). Already massive support from Ivan Smaghe, Ewan Pearson, Chloe, Simian Mobile Disco, Tim Paris, Jerry Bouthier.
Review: Quiet Village (aka Matt Edwards (aka Radio Slave) and Joel Martin) take a break from taking over the world through labels such as Whatever We Want and Soul Jazz to remix Cosmo Vitelli's "Delayer" on his own label, I'm A Cliché. Now it seems there’s some confusion over whether this remix is to be played at 33rpm or 45rpm (I hate it when that happens), so either it's an up for it, psychedelic, electro disco monster, or an insane, druggy down tempo effort (or both).
Review: French label I'm A Cliche's founder Cosmo Vitelli is back with this four track EP boasting remixes from Malaso and British artist Tim Paris. "Night Dogs" is a disco edged anthem that rides off heavy electronic keys and an up-tempo driven beat. Featuring spoken vocals from a sultry Nakion it's very much for use on sweaty dancefloors. Malso's remix hones in on the vocals, pushing them to the forefront and leaving the music to take a more eighties-tinged ambience below. Tim Paris twists things totally by incorporating a hypnotic guitar lick and warm balmy key melodies on his remix; Juno's pick of the bunch. Finally, "Running Backwards" leans towards techno sensibilities with head strong kick drums and cosmic tones.
Review: Following last year's "Last Train To Marzahn", the legendary walking talking Cliche (and one half Bot'Ox) Cosmo Vitelli goes solo across four blistering and far-ranging tracks. Floor-wise it's all about "When Suddenly" (an all-out late night warehouse demolition derby) and the pure epicity of "The Cemetery of Unsigned House" while the softer focus and dense melodic layers of both versions of "El Si Senor" provide a soothing narrative that acts as the consummate tonic. Pure eclecticism, as always from Benjamin Boguet.
Review: The deranged Crackboy project makes a welcome return to I'm A Cliche with Crackwood, a plate brandishing three more potent examples of his warped house sound. Anyone who indulged in the Something For EP, Crackboy's last release for Cosmo Vitelli's label, will treat this 12" as buy on sight but for those new to his rough hewn slant on jacking rhythms and malfunctioning analogue synths Crackwood makes for a perfect primer. We draw your attention in particular to the ravey, lo-fi, 90s-inspired "Apes", described by the label as "a sexy house song made for taking one's shirt off on the dancefloor", and the "muscled acid" of "Kiddo" that comes across like a Gallic cousin to Funkineven.
Review: Docteur Satan is the latest crazed alias adopted by Krikor Kouchian, best known for his work as Krikor, Crackboy and no doubt a few other aliases over the years. We tend to think Kouchian is one of the most under-rated producers in France when it comes to thrillingly visceral dancefloor devastation and maybe this devilish debut Docteur Satan 12" will grant him the props he deserves. Issued through I'm A Cliche, this 12" finds Docteur Satan channelling his distinct brand of dancefloor horror through the lens of New Beat on three outstanding productions with "(666) 361-6794" a standout. Tel Aviv pair Red Axes add further devil to "Entity" for a fine remix.
Review: Attention Vegetarian vinyl consumers - approach this excellent introduction to the I'm A Cliche canon proper from Hannulelauri with caution if the sight of bare meat causes your constitution consternation. Raw steak on the cover art aside, there's little other reason not to indulge in this brilliantly oddball take on house music from the Finnish duo. Opening track "Box To Box" splays a cheeky acid stab lead over rusted percussion steeped in off kilter rhythms, whilst deep in the machine what sounds like an elephant tries to play along in time - it's a wonderfully tongue in cheek riposte to po faced music everywhere. The accompanying remix from Throne Of Blood duo Populette does a sterling job of realigning the track to burning deep house bump that's a perfect fit for the midnight hour. On the flip the title track "Dysfunction" straddles a lysergic house pump that will prove potent in the right atmosphere, whilst Toby Tobias embellishes the track with some soulful excess via diva warbling and hand claps.
Review: Jakarta-based Space.Rec founder Jonathan Kusuma returns with a cosmic brew that packs such a punch the police have a warrant for his arrest. Ranging from the acute hairline fractures of the sweaty electro session "Gong 3000" to the icy techno wriggles of "Street Siren" via the sparkly cosmic disco of "The Grand Search", Jonathan has left very few sonic stones unturned. For added darkness, head for Karamika's remix of "Street Siren". Moody and pensive, it's an instant vibe flipper.
Review: Everlast founder and label-head Orestt touches down on France's I'm A Cliche with a sultry four-track EP! The man hasn't released a great deal of music since his first EP way back in 2005 and instead has chosen to remain cautious over the amount of music he puts out. Branding his music electro would be an injustice because it contains much more than that. "L'age De La Glace", for instance, is a dreamy, beat-driven track with a gorgeous sequenced bassline and extraordinary sonic modelling - let's not forget Jonathan Kusuma's late-night remix - while "Delta" could fit somewhere in between DJ Stingray's output and just about any B-side on a post-punk 7" from the early 80's.
Review: Tel Aviv-based duo Red Axes seem obsessed with atmosphere. Throughout their short career, they've flit between styles, combining minimal-influenced house and techno excursions with more left-of-centre downtempo moments, all the while retaining a smoky, late night feel to their productions. Ballad of The Ice, their debut album, takes a slightly different approach, mixing murky downtempo sounds with heavy new wave, post-punk, goth-rock and leftfield pop influences. It's a mixture that more often than not pays dividends, delivering intoxicating compositions that bristle with moody early morning charm. Amongst the Cabaret Voltaire, Joy Division and Section 25 influences, you'll also find a superbly spooky cover of Bauhaus's "Bela Lugosi's Dead", which vies with the stomping "Head Like Glass" for "best track" honours.
Review: Last year's Ballad of the Ice LP for I'm A Cliche seemed to open quite a few doors for Tel Aviv pair Dori Sadovnik & Niv Arzi with Red Axes appearances on Kompakt, Highlife, and Relish. The commencement of a new Shem series of records brings the Red Axes back to Cosmo Vitelli's label with a remit being tracks geared towards the dancefloor but always retaining the one-of-a-kind approach that it distils in all its productions. The four tracks on Volume 1 set the tone nicely, be it the Delia Derbyshire does cavernous acid house vibes of "Na Da" or the spectral "Balma" which features the Portuguese crooner Abrao. Best of all however is the effervescent jack track "Nu" which really exemplifies the talent of Red Axes to make club-ready tracks out of organic elements.
Review: Tel Aviv's Dori Sadovnik and Niv Arzi have been making music together under the name Red Axes for four years now, and freeform blend of electronic expressionism has seen them release on everything from Klasse Recordings to Hivern Discs. This month they return to the I'm A Cliche imprint, and they've conjured four mystical dance tunes that fall on the edges of disco. "Shem" is an ominous ballad made of dreary electronics and a tick-tock percussion, and "Oh Key" is similarly clown-like in its choices of odd sonics - a truly singular piece of instrumentation. "Sweet John Gang" is a nu-school boogie kind of monster, whereas "More More & More" is a fuzzy house jam with a delicious blend of dubby melodies. Out there tunes!