Review: By now, we've come accustomed to Dark Entries digging deep to find curious material to reissue. Even so, few would have expected them to turn to the Greek synth-pop/new wave scene for inspiration. Gallop, the sixth album from Greek musician Lena Platonos, originally came out back in 1985. It remains an impressive, if unusual, set, with Platonos variously speaking and singing over backing tracks that veer between spooky, piano-laden oddities, sparse but seductive drum machine grooves and thrillingly spaced-out synth-scapes. Those without a grasp of Greek will no doubt wonder what she's musing on, but in many ways it doesn't matter; aesthetically, Gallop is a thrillingly imaginative and out-there album worthy of further investigation.
Review: Dark Entries has been at the forefront of the coldwave and synth revival that has slowly taken hold over the last decade. Next up they turn their attention to a reissue of an out of print EP from 1988 by Jordi Guber and Krishna Goineau as Velodrome. Villalobos has been known to drop cuts from it, which should give you a good idea of its musical style: freaky 80s electro built on steppy drums, with taut and twanging synths reverberating around the mix, as exemplified by the opener. "Glasfabrik" is a hyper-speed cut with a tongue in cheek vocal, while "Capataz" is the most well-known joint with its acid bass and crashing hits.
Review: Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations.
'Nuit' is Photonz's debut album and a simultaneous reference the Egyptian Goddess of the Stars or Night. Marco was really swept away by the concept of 'freedom of form under the night sky', the accepting embrace of Nuit. Ancestral, but also socially advanced and utopian; a deification of the night time. These ideas manifest themselves as eleven songs spread across two LPs that wax and wane like the moon. Photonz channels early techno, Drexciyan rhythms, balearic & atmospheric house; layering sounds, creating moments. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a royal blue and neon yellow jacket with duality/birth symbolism and trance-hieroglyphs designed by Eloise Leigh. Each copy includes a glow-in-the-dark sticker and a postcard with notes
Review: Konstruktivists is the Industrial project of Glenn Michael Wallis from Kent, England. In the late '70s Wallis was a "control agent" for Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, and SPK, Glenn began to record his own material. After several cassette releases, Konstruktivists' first LP 'A Dissembly' was released in 1982 followed by 'Psykho Genetika' in 1983 and 'Black December' in 1984. That same year Wallis collaborated with his friend Chris Carter, of Throbbing Gristle and Chris and Cosey fame, on CTI's 'Conspiracy International One'.
In 1985, Glenn spent a week at Chris and Cosey's studio recording 11 tracks that would become the 'Glennascaul' album originally released on Nigel Ayers' Sterile Records. Produced and mixed by Chris Carter, it marked a complete change in style for the band towards a beat-orientated rhythmic sound. 'Glennascaul' is proto electro at its very best, with Glenn's hallucinogenic vocals on top. A musical collage designed to invoke images in the mind. The back cover clearly states "No guitars. No Fairlights." For this deluxe reissue we've added two bonus tracks recorded around the same time, now vinyl for the first time ever. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring cover art, which is a co-production of Trevor Brown, Nigel Ayers and an image Glenn Wallis supplied. Each copy includes a double-sided 8x11 insert with liner notes by Nigel Ayers, press clippings, and photos.
Review: Dark Entries' series of leftfield Italo-disco reissues continues with a double-header from prolific Italo disco session vocalist Helen (AKA Elena Ferretti), whose early excursions on obscure Italian labels Out Records and Discomagic have previously been the sole preserve of dusty-fingered crate-diggers. This EP brings together two of her finest EPs; 1983's scarce "Witch" - an exercise in bubbling, synth-pop inclined Italo-disco - and 1985's arguably better-known "Zanzibar". It's arguably the sparse, cowbell-laden "Afro Mix" - think Cosmic Club era Daniele Baldelli - of this track that steals the show, though all four tracks are shot through with that European strangeness that often marks out the best early Italo cuts.
Review: A seminal 81/83 record that epitomised so many sounds and melting pots: synth wave, Italo, New Romantic, electro, proto house... The list of worlds this groundbreaking song traversed is remarkable. Here Dark Entries compile the four versions that were cut during its two key release phases on GC Recordings in 1981 and 1983 in all their remastered glory. Smouldering, moody and still relevant to so much going on musically, this is true piece of history.
Review: Despite being active for just seven years during the 1980s, Dutch new wave band Mekanik Kommando released a wealth of raw, off-kilter and intergalactic material. 1982's "Dancing Elephants" EP, which here gets the reissue treatment from Dark Entries, remains one of their finest moments, largely because it fuses crunchy, electro-influenced beats and Kraftwerk style computer bleeps with sassy new wave vocals, nods to synth-pop and the low-slung basslines and fuzzy guitars of post-punk rock. Our picks include the alien post-punk pop of "Beauty Of Language", the out-there, delay-laden, extra-terrestrial weirdness of "Miss B" and the new wave electro-pop perfection of "Stop & Play".
Nothing Is True; Everything Is Permitted (instrumental) (4:54)
Breakin' Indistortion (instrumental) (4:16)
A Dirty Song (instrumental) (5:05)
Review: Dark Entries know their stuff when it comes to '80s synth pop reissues, and this latest reissue of Carlos Peron's Dirty Songs single is a sign of just how deep into the crates these guys get. Originally out over thirty years ago, these instrumentals are still total killers and will go down a storm in most DJ sets which venture out of the 4/4 formula. "Nothing Is True; Everything Is Permitted" and "Breakin' Indistortion" are particularly fresh and must have truly cut the edge back then: metallic drum machine beats and sparse melodies ring away into the cavernous ambience created by Peron. Wonderful and highly recommended.
Review: We love Talking Drums. At the core, they are simply our type of band. An album, a few EPs, and then disappear before the scene kicks off and becomes commercialized. Boxes all well and truly ticked. The early 80s were a period of change what with punk music evolving into post-punk, and while the nu-romantic fashion that came to prominence in the mid 80s was a national movement, it was bands like Talking Drums which initiated it. Thanks to the ever-reliable Dark Entries, we now get to enjoy their best single, Courage, in all its glory - and it sounds like it's been pressed up properly, too! All you need to know at this point, if you haven't come across this already, is that it's one of the best disco-not-disco singles you'll ever cop...and we don't have a favourite tune...they're all equally raw, drum-heavy, house-envisioning, and utterly addictive. Hotly tipped!
Review: Classic Italo one-hit mystery, Tony More (or Tony Moore as he's often credited) gave the world this lavish futurist Marzio Benelli-written pop odyssey in 1985 before promptly disappearing. With original pressings fetching over L200, Dark Entries have democratised it for all to enjoy. And there's plenty to enjoy... A restrained by hooky riff, sparse but delicate and vulnerable vocals and a chugging synth groove that cuts with a heavy cinematic feel that's succinctly of its time. Complete with an instrumental for full mix creativity.
Review: Lhasa is the brainchild of Alain Raes from Siegen, Germany. As a teenager he was inspired by Tubeway Army's "Are Friends Electric" and Art Of Noise's "Beatbox". In 1985 he began collecting analog equipment (Prophet-5; Oberheim OB-X; Linn LM-1) as digital synthesizers had started to become more popular. In 1986, New Beat was born in Belgium. Dancers tapped into the darker side of synth pop, and DJs would play 45 rpm records at 33 with the pitch control set to +8. Alain was playing in New Wave bands and had started production work and synth programming for other acts.
In 1988 he self-released the debut Lhasa single 'Acetabularia' / 'Acetatechno', with help from Kris Tremmery on vocals and concept. The record combined the icy melodies of Gary Numan and John Foxx with with the mechanical rhythms of Detroit techno and EBM. Thematically, both tracks revolve around the end of life on Earth, and include samples from 'Dr. Strangelove'. For this first time reissue, we've added 4 bonus tracks rescued from a 1990 recording session DAT tape. These demos show further development of the Lhasa sound with updated instruments (Roland D-20, Yamaha TX16W, Korg 707), faster tempos, and menacing proto-rave energy. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy includes an 11x11 poster with photos and liner notes by Alain.
Review: Roy Garrett born Roy Sambar in Colonia, New Jersey arrived in New York City hungry to explore the sex and porn scenes he'd seen advertised in the Village Voice's classified section. He danced in Times Square theaters The Gaiety, Ramrod, and Big Top before moving into adult film. From 1979 through 1983 Garret starred in ten films, five of them for Joe Gage, including his lead role in 'Heatstroke'. Throughout this period of self-discovery, he wrote the suite of poems that became 'Hot Rod to Hell'. In 1982 he recorded 48 of the poems with haunting, atmospheric score by Man Parrish, who also did several soundtracks for Gage. The project was produced for the stage and for cassette by Manhattan illustrator Robert W. Richards. Richards calls 'Hot Rod', "a searing voyage through the labyrinths of modern male sexuality; it's geography ranging from porn theaters to back room bars to the intimacy of shared beds. Only a man born at exactly the moment in gay history that Garrett was could have lived through and conceived this work." Roy Garrett tells his stories of sex, violence, truth, and illusion, a visceral and personal a record as any of that moment in gay history pre-AIDS. Joe Gage, describes 'Hot Rod' as, "...sweet danger. This is a perceptive look at the underside of love. It is funny, scary, surprisingly moving and best of all, extremely acute in observing the specifics of the human condition." All poems have been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The records come housed in a jacket designed by Gwenael Rattke and includes an 44-page full color magazine with all 48 'Hot Rod' poems plus 44 previously unpublished poems from Garrett's archive. All proceeds from 'Hot Rod' will be donated to Housing Works, a New York City based non-profit fighting the twin crises of AIDS and homelessness.
Review: As per usual, those fiendish folks over at Dark Entries have amazed us once again with yet another barrel of 1980s gold from the depths of the underground. This time it's German new wave band Boytronic who see a reissue, and the EP in question is 1988's "Byllyant", which features the magnificent Plus 8 mix - a shot to the head made up of warm bass tones and hard-hitting drum machine patterns - and also the US mix, which literally sounds like it was made yesterday; for being an '80s EP, Boytronic steered well clear of cheesy and to be honest, they give New Order a proper run for their money. The 1984 mix of "Trigger Track" is a wonderful electro stormer, stamping its fast beats over eerie pads and growling basslines. This would be silly not to recommend! For the diggers.
Review: Matt Cheon & Co. unearth yet more rare gems from old school electro fiends Caroline Herve & Michael Amato here, on the second volume of Lost Trax. As story has it, after the French duo met at a rave in their native Grenoble in the early '90s, they made music heavily influenced by 80s synth, post-punk and Italo disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. From the sexy, four-to-the-floor EBM of "Upstart", the Drexciyan style "Love On" with its aquatic bass assault, or the classic Miss Kittin & The Hacker sound of old on the monochromatic" The Building" featuring the former's trademark deadpan vocal delivery.
Review: Luis Garban aka Cardopusher's raw, electro-infused take on techno has earned him releases on labels like Boysnoize and Super Rhythm Trax whilst running his successful Classicworks imprint alongside co-founder Nehuen. His Muscle Memory EP for Bay Area retroverts Dark Entries sees him ride on the winning formula of raw and jacking house and techno grooves from yesteryear with a touch of modern flair. It's all aboard the acid express on high octane thrillers like "Regress To Nowhere" or "Into The Motion" which feature the signature glide and resonance of the Roland 303, to EBM-infused electro bangers (title track "Muscle Memory") and the deep down and dirty bump of "Nambu Line Dub".
Review: Last year, Dark Entries reissued Lena Platonos' 1986 album "Lepidoptera", a beautiful, minimalistic set forged out of picturesque piano motifs and the composer's own surrealist Greek poetry. Now the lauded San Francisco label presents a quartet of new reworks of tracks from that album. There's a more dancefloor-centric feel throughout, with the standout revisions - in our eyes at least - coming from Anatolian Weapons, whose take on "Cyaniris" is a throbbing, dark synth-pop treat, and Pasiphae. Her version of "Araschnia Levana" brilliantly re-casts the track as a heavy, all-action dark electro workout tailor made for dark basements in The Hague.
Review: Aside from the wide spectrum of gorgeous post-punk and italo material that Dark Entries have been reissuing as of late, they've been earning some serious points from our end for their revival of so much material from Australia's Severed Heads. While the band are up there as one of our favorites from the 1980's, Dark Entries have picked exactly the right 12"s to reissue; "Lamborghini" is incredibly contemporary in sound, and it's subtle 4/4 kick allows its mild melodies and odd acoustics to fit above pretty much any house tune today. The same goes for "Petrol", a mild-tempered dance tune with minimal background vocals and a whole load of filter-attack quality. So recommended...
Review: Ah, a real gem of the NYC No Wave era is the focus of Dark Entries attentions here as the stunning Holland Tunnel Dive by ImpLOG is given a more than timely reissue. For the uninitiated out there, ImpLOG were formed by The Contortions band members Don Christensen and Jody Harris under the name ImpLOG, after the former left the iconic No Wave act in 1979, and released just the two records together. The story goes that Christensen's recorded experiments with found sounds, and an array of instruments such as a Univox drum machine and Casio keyboards impressed Lust/Unlust Records founder Charles Ball sufficiently enough to issue two tracks from the submitted demo tape as the Holland Tunnel Dive 12? in 1980. It's remained a highly prized record ever since and this lovingly recreated edition from Dark Entries is a must!
Review: Having released over fifty records since their foundation back in 2009, Dark Entries use the widened exposure afforded by that excellent Patrick Cowley compilation released in the last quarter of 2013 as a springboard to launch a new dedicated 12" series. Retaining their archival approach, the first release focuses on the short-lived Italian act Victrola; formed as a four piece combo in Messina, Victrola slimmed down to the synthesizer and guitar-based duo Antonio "Eze" Cuscina and Carlo Smeriglio and moved to the fertile music scene growing in early 80s Florence. In 1983, the pair issued their one record-shaped contribution to the early 80s Italian synth scene in the shape of Maritime Tatami, a two-track 12? issued on the Electric Eye label. Recorded using the Roland TR303 and TR606 at a time when these models had only been made available, so this reissue of Maritime Tatami from Dark Entries offers a chance for people to assess a slice of analogue experimentation at its most nascent.
Review: There was a time when original copies of Fantasy Life's sought-after 1985 Italo-disco gem "Over & Over" were changing hands for several hundred pounds online. While prices have come down a bit over the years, it remains a rare and hard-to-find delight. Happily, Dark Entries has saved us all a few bob by serving up this licensed reissue. The original version really captures the charming essence of Italo disco, matching chugging, motorized arpeggio synth-bass with cheery (some would say cheesy) synth-pop melodies and a catchy, impassioned vocal. Turn to the flipside for the dub style instrumental, which reminded us a little of some of Bobby O's early productions for the Pet Shop Boys (who were, fittingly, huge Italo-disco fans at the time).
Review: 2017 has been a good year for fans of The Hacker AKA long-serving producer Michel Amato. Having already impressed via rock solid EPs on Stilleben and Bordello a Parigi, Amato delivers his first full-length excursion since 2014. As you'd probably expect, Les Theatre Des Operations tends towards the alien and intergalactic, with Amato serving up a range of tracks rich in bleeping electronic melodies, unfussy drum machine rhythms and angular, TB-303 style basslines. As usual, the eight tracks neatly blur the boundaries between techno and electro - both rhythmically and sonically - while regular collaborator Miss Kittin lends a hand on moody and mind-altering LP highlight "Time X", adding some typically sleazy and stylish spoken word vocals.
Review: Honey Soundsystem's Dezier comes correct with this immaculately detailed debut album. From the circuit board presentation to the album narrative itself Parler Music is a lavish affair that stretches the perception of everything we've learnt about him on labels such as Cin Cin, HNYTRX and Public Release. Back again on Dark Entities (where it all began for this alias five years ago) Parler Music is a fluorescent romp through tempos and emotions; the white knuckle synthwave of "Un Subalterne Insubordonne", the iced-out electro of "Teleconference", the sleazy off-beat slinks and triumphant chords of "Entr'acte", the pregnant cosmosis of "Une Salade Oblongue", the list of immersive synthscapes and stories goes on. A genuinely beautiful debut album.
Review: The final part of Dark Entries' long-running series of archival Patrick Cowley releases showcases tracks originally recorded for Afternooners, a late '70s gay porn film by director John Coletti. As with previous Cowley releases on Dark Entries, the double album also contains previously unheard material rediscovered from the Fox Studio archives. It's another essential collection of atmospheric synthesizer music in the producer's distinctive style, all told, with tracks ranging from the whistling cheeriness of "Hot Beach" and the sparkling, cowbell-laden throb of "One Hot Afternoon" to the dubbed-out, semi-ambient dreaminess of "Bore & Stroke" and the humid, upbeat "Jungle Orchid".
Review: Lena Platonos is a Greek pianist & composer. Originally recorded in 1984, the Sun Masks LP was Platonos' first record to feature her own lyrics and vocals. All instruments were performed by Lena herself. Argentinian writer Julio Cortazar and the film The Wall by Pink Floyd were said to be the main inspirations, as well as a reversal of thought processes and minimalist aesthetics which led her to experiment on a Yamaha C60 synthesiser, a Roland TR 808 drum machine and a variety of effects which she used on her voice. As label boss Josh Cheon observes, she "narrates each song in deadpan fashion, skillfully reciting her surreal Greek poetry." Lyrically it is said to be an exploration of love, human relationships and the bourgeois lifestyle of the 1980s. Another wonderful and much needed re-issue by Dark Entries.
Review: Having spent much of the last 12 months furiously re-issuing classic Italo-disco bombs, Dark Entries has finally got round to releasing some more contemporary cuts. The man behind this EP is Victor Lenis AKA Cute Heels, a Barcelona-based Colombian who last appeared on the imprint in 2014. As usual, the two new productions showcased here see him explore a range of vintage electronic music influences, presenting them in a typically stylish and authentic way. "Third Skin" melds the muscular sweatiness of EBM to the jackin' energy of Chicago acid, while "Lipstick Information" offers a master-class in dark Italo-disco and early Detroit techno fusion. Steffi and The Hacker both give the title track a thorough going over, with the former's deliciously hypnotic, psychedelic take being particularly potent.
Review: Those in the know regard Space Art as one of French electronic music's most under-appreciated acts. Active between 1978 and '81, Synthesizer obsessive Dominique Perrier and drummer Roger Rizzitelli were famed for releasing killer chunks of "cosmic pop", before performing them live wearing specially made silver space suits. "Nous Savons Tout", which was recorded and released in 1981, remains one of their most potent singles. Creepy, strange, hypnotic and undeniably cosmic, Perrier's trippy synth parts seemingly rise and fall over Rizzitelli's metronomic, proto-techno drums. Flipside "Melodie Moderne" has an altogether different feel, coming on like a pitched-down, cosmic disco take on the artier side of 1970s progressive rock.
Review: Digging deep into the Chicago Rave vaults to re-issue the debut EP from Billy Nightmare aka "Mystic Bill" Torres. Growing up in Miami, Bill was involved in various parts of the music industry, from working at Flamingo Record Pool, to playing guitar for the band Life In Sodom (80's Synth/Goth band). His interest in both House & Industrial music inspired him to make his move to the Windy City. Bill quickly became involved in the night scene with residencies at clubs like Shelter, Crobar, & Smart Bar. His studio work began with a remix of Kay Ladrae's "Lack Of Love" with Vince Lawrence, followed by a string of releases, including an LP on Trax Records. He has recently relaunched two record labels and several releases and remixes out each year.
'Reality Check' was released in 1996 on Woody McBride's label Sounds. Originally the project was to be titled " Billy's Nightmare", but to avoid being jinxed for life, Torres decided to switch it to Billy Nightmare. He put the Mystic Bill alias aside, got a hair cut, changed his sound and became this new persona. 'Reality Check' consists of 4 tracks, recorded at Mirage Studios in Chicago in 1996. Two tracks on the A-side are dark thumpers and will haunt your head for days. Side B has 2 versions of the same song, lighter and funkier in mood both show the diversity Mystic Bill is capable of producing. All songs have been remastered by George Horn at Fantasy Studios. Each EP is housed in a custom designed jacket by Eloise Leigh featuring a 90s photo of Billy Nightmare staring into TV static and includes a postcard with notes.
Review: Josh Cheon's retrovert powerhouse Dark Entries reissues Lunapark's 1982 debut album Gefangene Vogel ('Prisoner Birds') originally on Stuttgart imprint Intakt Records. Lunapark were German trio of Burkhard Ballein, Klaus "Schlips" Gebauer and Reinhard "Zoppen" Benisch. Underrated heroes of the Neue Deutsche Welle scene, they allegedly recorded the tracks "using a simple set up of guitar, bass, drums, drum-computer, and Korg MS-10 & MS-20 synthesizers". The monotone German vocals epitomize the Zeitgeist of the Cold War. We particularly enjoyed the cosmic punk funk on the title track, the ode to popular Bayern menswear "Lederhosen" (featuring vocals that sound like Nena and some Giorgio Moroder style arpeggios) and any track dedicated to a legend such as "John Lennon" can't all be bad even in its stylish deadpan delivery.
Lettre A Monsieur Le Legislateur (De La Loi Sur Les Stupefiants) (5:56)
Review: 1983's Rive Gauche by Philippe Chany has been lost in the depths of time and, until now, many greedy second-hand sharks have been keeping its price way up high. This little synth-pop marvel is a sampler's dream, containing beautiful riffs here and there, and what is most alluring about it is its total detachment from any one genre. In fact, there are noticeable touches of all things Balearic in here, and many of its tunes could the perfect accompaniment to disco, boogie or even expansive DJ sets. With a little subtle nod to funk, Chany's album is one of those veritable one-offs, the sort of albums that are in a category of their own. A stunning reissue, once again, by Dark Entries.
Review: Chris Garner, Jorg Burckhardt, Matthias Elvers, and Regina Petersen didn't release more than handful of EPs under the Peppermint guise, but what they did put out was as foundational and inspirational as more known electronic bands of the 80s like Liaisons Dangereuses. Dark Entries is responsible for this reissue, of course, a repress of an original going for near 100 bucks on the second-hand market, and this 1983 bomb has that rare characteristic of sounding retro and utterly fresh all at the same time. There's two mixes to the wonderfully wavy "Perfect High", and they both serve their own purpose; the radio edit, as you'd expect, is the one that gets the heads turning, its ominous bass charging menacingly amid the sweeter melodies and classic, new-romantic vocals, while the instrumental makes for the perfect beat companion to any serious cold wave DJ set.
Review: Body Without Organs were a duo from New York City consisting of Richard Behrens (lyrics, vocals, guitar) and Carl Howard (electronics, effects) formed in 1982. The pair brought together skill and ideas from such diverse areas as writing, poetry, ceremonial magic, studio technology, and mass media sounds and images. The name Body Without Organs could mean several things: a body, being an organization, without organs, or hierarchy; a form of anarchy, certainly opposed to the capitalist system, and if not directly opposed, then deeply skeptical of its effects on society. Richard was interested in anthropology and mythology and the Golden Dawn System of Magick as a meditative tool. Sort of aural performance artists doing their performance work who released four cassette albums through Howard's Audiofile Tapes between 1985 and 1987. We are proud to reissue their debut album "Isis and Thoth" from 1985 on vinyl for the first time. The album's title pays homage to Isis: the protectress of the dead whose mournful tears for her husband/brother Osiris [the god of the dead who was murdered by his brother Set] were said to flood thee Nile annually, and unto the ibis or baboon headed Thoth: the heart [intelligence] and tongue [voice] of the sun god Ra. The nine compositions were created as scenes or moods with taped effects, delay pedals and found vocals. The duo employed droning synth syncopated with sparse percussive accents, esoteric vocal chanting, looping delayed beats, dissonant guitar and stuttering bass lines. Richard sadly passed away in 2017 and his widow Anna sent us the entire BwO cassette archive and we discovered a previously unreleased track "Scrap" included here. All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy includes an 8.5x11 insert with photos and interview with Richard Behrens. "When you will have made him a body without organs, then you will have delivered him from all his automatic reactions and restored him to his true freedom" - excerpt from the radio play by Antonin Artaud: "To Have Done with the Judgment of God" (1947)
Review: We are honored to announce the debut album from Vin Sol, who's taken club-goers on a trip with his tracks and sets for the past two decades. Vin Sol is a third-generation San Franciscan of Salvadorean descent who has released on Unknown to the Unknown, Clone, Delft, Honey Soundsystem, and Ultramajic. His DJ sets expertly span the genres of house, electro, techno, italo, disco, soul, funk, and whatever other finds he digs up. He's also a musical partner of Matrixxman, AKA Charlie Duff, with whom he started the Soo Wavey label. His current focus is on the wild monthly party and label Club Lonely, which he runs with Primo Pitino and Jeremy Castillo. 'Planet Trash' consists of 10 tracks spread across 2 slabs of vinyl and a bonus flexi disc. Vin started working on the album in the winter of 2017 while taking a break from making club tracks. Simultaneously he also wanted to disconnect from the grip of the internet and 24 hour news cycle. Spending more time outside, he became entranced by the Bay Area fog. Sutro Tower wholly enveloped in mist is a view that inspired the ambient tracks on the album. You will also hear hints of the Latin freestyle and classic acid that informed Vin's youth. By spring of 2018 Vin headed to Berlin to finish the album and work on a collaboration with Matrixxman, an homage to SF musical institution Bottom of the Hill that kicks off side C. Vin's musical approach is honest, using the tools of the trade to both innovate upon and pay respect to classic forms. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a jacket using photos by Vin Sol, and designed by Kevin McCaughey of Boot Boyz Biz. It includes a 4-color giant newsprint fold-out poster and golden flexi disc.
Qu'est-Ce Qu'il A (D'Plus Que Moi Ce Negro La?) (4:30)
Hot Voodoo Dub (7:45)
Review: Legendary musician, DJ and broadcaster Philippe Krootchey was a hugely influential creative whirlwind throughout the 70s and 80s in France. Founder of Love International, frequent Casablanca collaborator with the likes of Lizzy Mercier Descloux and Mathematiques Modernes and an active member of France's foremost gay rights groups, his political and creative messages were clear in every action he made. Originally released in 1984, "Qu'est Ce Qu'il" carries a strong anti-racial message with humour that worked so well he re-sang it English and it eventually became "Whatazzy". Flip for "Hot Voodoo Dub" to find his creative messages as a studiosmith were also very clear.
Review: Amongst minimal wave and alternative synth-pop enthusiasts, short-lived London band Shoc Corridor has an excellent reputation. Although they released a pair of albums and a gaggle of singles in 1983 and '84, it is '82 debut single A Blind Sign that gets collectors drooling. On this Dark Entries reissue, it's easy to see why. Flipside cut "Sargasso Sea", a fantastically spaced-out combination of heavily dub influenced post-punk bass, minimalist drum machine hits and liquid electronics, is particularly special, while "On Reflection" is a fine slab of swooning, near Balearic electronica. The title track, a Gary Numan-esque chunk of mutant synth-pop that bizarrely includes some jangly acoustic guitars amongst the arpeggio bass and twittering synthesizer melodies, is also inspired.
Review: Lena Platonos, born on the island of Crete in Greece, is simply not revered enough these days, often out of the spotlight. However, those who know, know very well what this musician is all about, and of the dynasty she has left to the wider music scene. The 1980s were hers, with more than ten albums having come out in quick succession, before being lost in the depths of the second-hand market; 1986's Lepidoptera, which Dark Entries have reissued wonderfully, is one of her very best works. Irrefutably non-genre and non-wave, this quirky collection of electronic shapes and improvisational ideas hasn't aged a day in 32 years, and there is nothing to suggest that similar sorts of musicians have pushed the boundaries any further. Balanced between exotica and electronica, this is pure Greek music with a twist. Moody, sensual and deeply enriching, this is an album for the ages. Recommended!