Review: New York's Black Dice had to land on their native LIES imprint at some point. It was only a matter of time before label head Ron Morelli picked them up, and he's done so in fine style. The American Tapes, DFA, and Paw Tracks casuals are made up of Eric Copeland, Aaron Warren and Bjorn Copeland, and the trio like to get a little wacky over their coldwave grooves. "Big Deal" is a true post-punk reincarnation, a track that manages to pick out everything that was right about the early 80's by adding in elements of noise, rock, and a little techno. A monumental tune. "Last Laugh" is more dubwise in its approach, where a distorted guitar sways from side to side amid a fuzzy whirlpool of aqueous sonics and dusty percussion. A great release from LIES, and a fresh addition to their more usual house and techno onslaught.
Review: Last year Cardinal & Nun successfully set their stall out via a decidedly lo-fi cassette of wayward techno, EBM, industrial and new wave fusions. Here the Marseilles-based outfit steps it up a notch via a debut 12" for Ron Morelli's L.I.E.S. label. The four tracks are suitably loose, dark and otherworldly, with title track "I Met The Devil" - a pitch-black fusion of early Joy Division, throbbing new wave and late '70s Cabaret Voltaire - leading the way. "Go Away" sees them apply the same DIY fuzziness to EBM, while "Empoisonne" wraps discordant guitar solos and gravelly vocal snippets around another arpeggio-driven groove. They round things off via "Disintegration", a slower and druggier trip into thrusting, arpeggio-driven territory.
Review: Brazilian producer Fernando Seixlack has previously impressed with a couple of notably punky albums of experimental techno under the Innyster alias. Here he makes his debut for Ron Morelli's esteemed L.I.E.S imprint with a first full-length under his own name. While still as fuzzy, lo-fi and out-there as its predecessors, "Fernando" is a surprisingly melodious and tuneful affair, with Seixlack wrapping glistening - if distorted and pixilated - guitars and trippy synthesizer motifs around bustling machine beats and wayward electronic percussion. At times it touches on electro, at others IDM and more experimental, abstract pursuits; throughout, the album remains both hugely entertaining and pleasingly atmospheric.
Review: 12 months on from his last outing on Ron Morelli's celebrated L.I.E.S. label, former Napalm Death noisenik Mick Harris once again dons the Fret alias for another exploration of techno's farthest, darkest corners. He hits the ground running with "Slowly Moving In", a polyrhthmic industrial techno workout full of ricocheting, end-of-days electronics and distortion-soaked drums. "The Hill" is, if anything, even more panicked and bone-rattling, as if Harris had re-imagined the soundtrack from notorious Sheffield-based nuclear winter drama "Threads". Over on side B, "Pirates" is a formidably fuzzy and mind-altering attack on the senses, while "Walking With Cameras" adds creepy refrains to one of Harris's weightiest rhythm tracks yet.