Sacred Bones Us レコード& CD

Review: Fuck Buttons founder Benjamin John Power has been delivering experimental techno under the Blanck Mass alias for five years now, but this latest appearance on Brooklyn's Sacred Bones is potentially his most important one yet. Coming through in the form of a single-sided label, the artist sees his "No Light" tune remixed by none other than Genesis P Orridge, the foundational member of Throbbing Gristle. G P Orridge delivers a sublime rework, transforming the original into a low-key techno stepper with subtle dub influences, and one hell of a kick groove. It's one of those subtle techno tracks that sounds simply amazing out on the loudspeakers. Don't miss it!

Review: Another burst of contemporary-sounding gems from John Carpenter film scores, and this is good news to both the collectors and the sample junkies. On this latest missile we have the famous brooding synths and trite '80s romance of "Assault On Precinct 13", still a much coveted album by the diggers and one that is often heard on the more expansive DJ sets; the B-side is made up of "The Fog", a 1980 piece of history that once again manages to contain a true 80's spirit without the predictability of many sings from that era. Wonderful and, of course, highly recommended.

Review: Sacred Bones is not messing around when it comes to reissuing mythical songs from legendary soundtracks across the board, and their latest releases truly do get the old mouth-watering. This new picture disc contains 1979's "Halloween" on the A-side, and 1981's "Escape From New York", both timeless films that have left viewers awestruck thanks to, in part, their fantastic scores. You'll all recognise that Halloween chimes, those eerie chimes of coldwave synths, but perhaps Escape From New York is less immediately recognisable, but that's a shame because it is potentially the less aged of the two and still a track to break a set in half with something beautiful and unexpected.

Review: Suicide's Alan Vega was a truly visceral artist. Time and again he gave us mutated, spliced tracks, screwing mechanical futurism into familiarly human sounds to create hybrid noises that weren't born of our time, and instead sound like things that came before us, while also conjuring images of futures yet to arrive.

Invasion/Murder One follows in a similar vein, and lands in the wake of last year's Mutator. Again, this is Vega solo and plucked from the infamous archives of his previously unreleased and largely unheard stockpile of weird and wonderful music. The two tracks were both recorded in New York but decades apart, the most recent as part of a group of tracks that were laid down prior to sessions beginning for his 1999 album, 2007. If that's simply too many numbers, let's just say this is brooding, gritty, distorted but euphoric, empowering but tense experimental rock, with electronic effects.