Review: Attraktors originally surfaced back in 2015 with the Future Systems EP. Made up of members of Six.By.Seven, Bivouac, The Selecter and more besides. Now this eclectic group of coldwave connoisseurs fold that initial EP into a raft of new songs to make up a sterling debut album for Vivod. It's brittle, homespun stuff that opens up a wormhole to the bedroom studio explosion of the 1980s, when lo-fi new wave was king. But there are other dimensions to this record, like the dreamy synth pop of "Mensonge Et La Chute" and the cosmic rock stylings of "Theme From Unknown". For all lovers of the early to mid '80s era, this is an album you won't want to miss.
Review: Emergent duo Broken Arrows were previously spotted lurking around Giallo Disco back in 2015, so you should have some idea of the kind of lurid late night machine sleaze they like to get their hands dirty with. They've now slid over to the sympathetic but marginally more techno-minded Vivod imprint with a new clutch of deviant heaters for those adventurous dancefloor spaces where B-movie sounds reign supreme. "Female Predator" is a tough EBM-tinted workout with plenty of jack in its stack, while "Fear Eats The Soul" takes a more synth-wave approach with some speech samples thrown in for good measure. "Edge Of Darkness" is a more tense affair that pings arpeggios around a minor key refrain, and then "Basic Structure" whips out the hardest track on the record, a lithe industrial stomper laden with rhythmic noise and a mean synth bassline that will hit your solar plexus like a battering ram.
Review: Master of minimal wave sonics Alessandro Parisi has spread his full-bodied synth wares around such esteemed labels as Slow Motion, Charlois, Giallo Disco, Lux Rec and more besides, and now he slides up to Vivod with an EP of noirish fantasies you'll be hard pushed to resist. "Crossfire" is the more uptempo cut, but "Ravens" paints a more vivid picture of retro-fetishistic club music in dangerous places. "Praying Sages" goes all out on the soundtrack vibe, but not before it's been remixed by Mick Wills, who casually threads a driving techno undercarriage into the track to create a strangely transcendental slab of cathedral-ready body music.
Review: Having crept out of the tape undergrowth and respected haunts like Clan Destine and Always Human to earn more civilized recognition on BANK Records NYC and Bliq, Strahinja Arbutina makes the move to Vivod for yet more of that edgy, leftfield techno business that keeps mothers awake at night from worry. The grit, noise and distortion has been faithfully carried through from the cassette-based roots of Arbutina's sound, but these tracks are more than ready to do the damage in the dance (where you're less likely to find a tape deck). Hold on tight as the likes of "Way Ahead" give the sound engineer a fright when they think the system has overloaded.
Review: German producer Martin Matiske has been sporadic in his appearances dating back to 2002, but when he releases a record he makes it count. Following previous turns on International Deejay Gigolo and Stilleben, he now brings his fulsome electro sound to Vivod sounding fresher than ever. "Die Nibelungen" draws on a fine tradition of German electronica while using that mechanical melancholy you might find in a Bochum Welt track. "Bayerischer Wald" is a cheery synth-pop celebration, and "Virtuosic Mechanic" is a more snappy club track with plenty of Bunker-friendly darkness packed into its bones. "Kammermusik" cools things down with a lovely meander through plaintive bleep lines and plastic synth leads.
William Bendix - "Dallas" (Lucky Koi remix) (5:24)
Lewis J. Force - "Folkestone Nightclub" (3:46)
Lewis J. Force - "Folkestone Nightclub" (Parasols remix) (7:09)
Review: In just three years Ali Renault's Vivod label has managed to release a staggering amount of music from rule-breaking disco mavericks, and so it continues unabated on this new slab from William Bendix and Lewis J Force. The former comes leaping into earshot with the splattering robo-boogie of "Dallas" in all its chaotic glory before switching stance with the dazzling synth glare of "Centurion". Lucky Koi is also on hand to take "Dallas" to task and does so to great, mutant breakbeat effect. On the flip Lewis J Force whips up a bouncy acidic storm with "Folkestone Nightclub", only for Parasols to come bowling in and dismember it in a most sonically gruesome of ways.
Review: Having originally surfaced on Creme Organization back in 2002, Luke Eargoggle and Ronnie Johansson's Monkeyshop project is an intermittent treat that offers the best of warm synth-led electronic disco. On their second outing for Ali Renault's Vivod label (after the excellent Escape From The Mental Zoo EP in 2014) the pair bring yet more of that addictive, utopian dance magic on this new record. "Island Of Love" is indeed a romantic club burner with smatterings of vintage synth pop in its bones, while "Heartbreak" takes a more overtly Italo direction and sounds just as strong with it. Obergman then takes "Island Of Love" to task with a respectful remix that shines a few different synth lines and beat patterns through the same fuzzy prism.
Review: Ali Renault's Vivod label continues to bring the goods, as recent missives from Skatebard and Monkeyshop (their first release of any sort for 11 years) emphatically prove. The imprint's latest release comes from newcomer Paul Withey, who follows up a fine contribution to a recent split E.O on Ruby Hills & Diamond Mountain, with a debut solo E.P of his own. The five tracks featured are nicely varied stylistically, but all boast the distinctive shimmer of analogue synthesizers and dusty drum machines. Highlights include the surging Italo-disco revivalism of "Pallas", cheerily positive synth-pop flex of "Yes Master", and the curious, Radiophonic Workshop style weirdness of "Beneath the Surface".