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Kettle Black Reviews A-J


Activity Set - Drift (Ind) It’s been a long time since I received anything like this to review for TKB. The first track “Social Darwinism” starts out with strumming acoustic guitar and then kicks in to a riff instantly reminding me of early Rush. As the disc unfolds I am reminded of how much I really love a dose of spaced out psychedelic rock music. Often leaning toward Gilmour style Floyd and the first eels record, the stand out tracks are “you are exhausted by risk” (with one of the moodiest opening guitar riffs I’ve heard yet) and the disc closing instrumental “misspelled your name.” The disc comes highly recommended from me to you. (E-Mail: Web: J Mundok

Ambient Meat - Sonic Debris (Ind) K7 I’m sure that this tape would have went over very well with acid heads in the 60’s and 70’s. in a way it kind of reminds me of an old group called HELDON 6. what we have here is sort of free form jazzy psychedelic ambient improv jamming with synths, guitar, and drum machine. I would definitely like to pop this in before I go to bed at night, it has that kind of atmosphere, but it isn’t extremely mellow either. I feel an old school 70’s psychedelic vibe with this, and if they had used real drums instead of a machine I probably would have thought it actually was from that era. people into that loose free-form jam type stuff should definitely check this one out. I like it, if I may say so. (Dave Fuglewicz, 360 Sheringham Ct, Roswell GA 30076 : e-mail : web site) deon

Sara Ayers - Voices (Dark Wood Recordings) Several “full length” songs interlaced with short 11-67 second experiments with the voice aptly titled “Voices 2,4,6,7,8,9 & 10.” Ayers recorded and mastered this gem in her home studio using layers and layers of her own voice as an instrument. Most of the disc has an electro synth pop feel that reminds me of Yaz and early Sinead (the good stuff). 12 years since her previous cassette release, Flourochrome, she shares a glimpse of the past with two bonus tracks taken from the ’85 release. A must have for fans of angelic voices. (Dark Wood: POB 1786, Albany, NY 12201 : SARA AYERS ON-LINE) J Mundok

David Barnes - Hinges (Barnzstuff Music) The first track, “I gotta chainsaw in my pocket” starts the disc off with a catchy tribal sound, featuring sequenced percussive samples, described by another reviewer as a NIN parody. I can’t really pigeonhole this one into a specific genre, there are elements of standard “industrial,” indie rock, and electro pop. he creates some of his own instruments to be played or sampled and sequenced. actually, I’m at somewhat of a loss for words to properly describe this one, I definitely have to admire the way that his compositions fit together, very good musicianship involved here. in a nutshell: very percussion oriented programming, with other textures ranging from smooth to almost anxiety inducing, covering a nice range, with the last track being edited samples of squeaky door hinges closing. creative and well executed. (66 Craigie St, 3R Somerville, MA 02143 : web site) deon

Bath - n-graver (Jevan) Bath has been on the cutting edge of Cleveland’s goth scene for several years now. 1998 brought forth the release n-graver, the band’s third release. Somehow instrumentalists the Cobble & Lucas Kuzma with vocalist Christie Bailey have managed to break incredible ground in a style of music that can so easily be re-hashed. I don’t know exactly where this fits - goth / ambient / darkwave / electro - take your pick. The highlights are definitely the extremely creative percussion programming. The beats somehow weave different tempos and both standard and unconventional sounds to create seamless beats. As far as Christie’s vocals word...spooky. (Jevan Records, POB 29519, Cleveland, OH 44129 : e-mail) J Mundok

Black Mayonnaise - Collection II: 1993-1998 (Gauge) K7 Named after the slang term for raw sewage washing up on the east coast beaches, Black Mayonnaise is the Akron, OH based experimental project of Deon D. This collection contains new tracks as well as material from the early days of BM before a mid 90’s two year hiatus. Side one contains several untitled tracks full of heavy spaced out drum tracks, low distorted sludge bass and pitchshifted vocals as well as a few synth experiments. The mood is deep and very very dark: the waltz of the sewer rats safely tucked beneath the city streets. Side two contains two parts of “minimal synth atmosphere.” These excellent synth drones are perfect background textures and come highly recommended for those seeking very high quality DIY experiments in synth. (Gauge Records: 275 S Balch St, Akron, OH 44302 USA E-mail: J Mundok

Don Campau - Preexisting Condition (Lonely Whistle) K7 DIY Radio/hometaping guru Don Campau’s “A” side of a split with He and Robin O’Brien’s Western Union starts out with the David Byrne like delivery on “Caged Animals.” Campau toys with different styles throughout the release from garage rock to the wacked out ambient piece with Heather Perkins “from the edge.” Other songs contain backing tracks from contributors Al Perry, Thomas Pradel, Tom Dark & Dan Susanara. Often sounding like a hometaped Men Without Hats, Campau’s delivery is often simple and always honest. My favorite track is “pure love” combining acoustic guitar and layer upon layer of vocals. (“B” side review under Robin & Don) (PO Box 9162, Santa Rosa, CA 95405 : e-mail : J Mundok

Candy Keep - It’s Starting to Snow (Cuttlebots Recordings) The emo-pop band Candy Keep is now defunct, having reformed as Lands Farther East. The Candy Keep CD “It’s Starting to Snow” contains their two last songs plus three tracks from their cassette release “Old Friends Are The Dearest.” All of the songs deal with raw emotions about love and life in general, sung to bare bones music in the vein of early New Order. My favorites are the band’s three cassette tracks, each of which opens with an amusing television sound byte. The song “Touch of Wonder” contains several surprising moments when the lyrics hit on a tender nerve and the gentle music becomes harsh, loud, and noisy, with the adrenaline dying down again just as quickly. The music in “Off the Coast a Rica” remains steadily introspective even as the vocals go through violent mood swings. The best track on the album is “Farewell to the Shadowlands,” a mostly quiet instrumental piece with intermittent whispered vocals that eventually erupts with violent sound bytes and distorted noises. This track expresses such tangible energy that no listener could leave unmoved. While Candy Keep is no longer with us, the new Lands Farther East is now at work recording a new album. For more information, check out the Cuttlebots Recordings website at (Web: Craig Conley

Captive Audience - Pivotal (Pivotal) Self described as technokinetic. The use of technology to make you your ass move. If you look at it that way, you look at it the same way this electronic duo looks at it. Each composing and splitting all other musical chores, Craig Conley and Mikey Warwick’s Pivotal disc is the DIY/techno fan’s dream come true. The tools: computers and keyboards...defying any idea that purely electronic music and greatness can never exist in true harmony. Stand out tracks are “Faces of the Moon” and “Get Out of Here - High Voltage Mix” that includes perfect samples from Art Bell and everyone’s favorite Mom. The only time the music swoops below 120 BPM is on the ambient “Bring Your Pillow” which masterfully lets the listener catch his/her/its breath before the second half explodes. (e-mail : web site)

Chocolate Grinder - Oceans (Modanti Records) Minimalist electronics create a dark bed under the absolutely addictive vocals of Susan Morton. For the most part, the percussion is very driving and unmistakably electronic while the bass and keyboard sounds are rather percussive. Oceans contains six songs plus four remixes and the remixes (the specialty of the other half of Chocolate Grinder, Kelly Stewart, are the best tracks on the disc. The thick and frothy m&m mix of “Antique Valentine” and the melting man main mix of “Paled Faced Me” are definitely my favorite tracks. I’m looking forward to more from this Ontario duo (?) (POB 673, Peterborough, ON K9J 6Z8 Canada : : E-mail - J Mundok

Ken Clinger - KC.49 (Ind) The cliché is true that we teach what we ourselves need to learn. When artists attempt to express great truths about the nature of the universe, their words often sound stilted, strained, and generally awkward because they do not yet have a firm grasp on the subject matter. And that’s okay--we can applaud their efforts to come to terms with abstract concepts. One in a million artists, however, manage to express great insights about life with words that flow so simply, naturally, and effortlessly that they enlighten the listener without preaching. The truth of their words shines so clearly that the message resonates within the listener. Ken Clinger is one of those rare, visionary artists. The proof is his latest album, K.C.49. Just as a flower that blooms doesn’t preach about nature, Clinger effortlessly does his thing. He has nothing to prove, for the perfection of his art speaks for itself. His music is a symphonic synth tapestry, psychedelic in the sense that it works on the part of your mind that metabolizes time and space. In other words, the music transports you to into a sort of subspace in which the boundaries of physical reality melt away, allowing creative sparks of light to playfully spiral and germinate. Clinger also entices us with his voice, serenely but confidently intoning the poetry of his lyrics. The quintessential track on his album is entitled “Unfolding.” In the first verse alone Clinger tackles the concepts of astral travel, multiple universes, cosmic consciousness, and infinity. In case you missed anything, an instrumental break reiterates everything sonically. By the end of the second verse, Clinger has matter-of-factly explained how to channel one’s energy to create limitless worlds of ecstatic love in which sound vibrations transform into vision. But he doesn’t instruct the listener. Rather, he serves as a guide or companion, participating in the act of creation. Indeed, the message, messenger, and recipient are all one. (Web: Craig Conley

Crayon Theatrical - S/T (Skeptical Cat Recordings) First of all, let me say that the art work on this six song casstte e.p. is the best I’ve seen on a homemade recording so far. Its creator is also responsible for the music that lies within. CT is Michael Homyk’s home recording projects recording primarily on an 8 track. The songs are consistantly light and airy using the standard drum, guitar, bass & vocals set up, but what separates Homyk from just another rock band is the guitar style. Floating above the rhythmn section a clean wah-wah is used throughout most of the recording. With the exception of the vocals, these tracks are have a big Porno For Pyros flavor (Good God’s era). The vocals are pretty straight with the exception of the occasional pitch shift for a cool “helium” effect or the homage to Hendrix during Nativity Scene. The recording takes a bit of a U-turn during a seventh (?) track. A kind of John Wesley Harding vocal over what sounds like early Kate Bush music. Quite different from the other six tracks. Overall Homyk creates a fresh recording using familiar sounds. I look forward to hearing more from CT in the future. (CT - e-mail: - 659 Natalie Lane, Lebanon, OH 45036) (J Mundok)

Cydonia - Indoctrinate E.P. (Independent) K7 This 1996 three song e.p. form New York’s Cydonia is pretty much your straight forward “industrial” sound that developed as a result of the success of NIN or Front 242. Driving synth bass lines move with great energy over intense and equally energetic percussion sequences, while distorted vocals and guitar licks dress the tracks up with melody. “Sentient” veers a bit more toward the experimental...though there’s not much here I haven’t heard before, it’s done very well. (PO Box 1228 Cooper Station, New York, NY 10276-1228) J Mundok

Decapolis - The River (Ind) I wasn’t sure what to make of this disc at first. Twelve instrumental tracks: electronic percussion, keys of all types and sampled (?) bass. I heard elements of Enigma and Depeche Mode as well as a lot of jazz grooves. It didn’t strike me at first until I realized the disc had been in my player for well over a month. The melodies were simply infectious. I found the beats running through my head all day. I had to come to grips with it...I was addicted to this album...and still am. Standout tracks are the opener “Cross Country,” the moody “Sunset” and “Smooth Sailing” which easily could find its way into a David Lynch film. Be careful with this one, you may find yourself ignoring the rest of your collection. (2004 Fordham St, Denton, TX 76201-1733 : e-mail) J Mundok

Ernesto Diaz-Infante - Itz'at (Pax) What can I really say to do Ernesto Diaz-Infante’s first solo release any justice? EDI’s background is amazing with an MFA in music composition from California Institute of the Arts, he’s worked in residence at CIRM and the Villa Arson in Nice, France, the Millay Colony for the Arts and the New York Mills Arts Retreat to name but a few. He composes and performs electronic and instrumental chamber music and this first release is but a glimpse of his ever growing work. Itz'at is just under 70 minutes of structured improvisation on solo piano & is broken down into 13 “Pax Preludes” and a 14th track “Mariposa Liviona” but seamlessly plays as one beautiful piece. The style is minimalist and sometimes very sparse. Excellent relaxing background music to life but not recommended for summer barbecues. (Pax: POB 697, Pacific Grove, CA 93950 USA : e-mail : web site) J Mundok

Ernesto Diaz-Infante - Tepeu (Pax Recordings) From the first chord of “As above, so below” to the last note of “What has been, will be again,” Tepeu, the latest solo piano effort from Diaz-Infante, pulls you in and takes you on a wonderful journey through unchartered territory, guided only by his fingers as the sounds they create light the way. All the tracks are freely improvised with the exception of the title track (named after the Mayan God) which is structured improvisation. The fourth track, “Antithesis,” picks up the tempo a bit, though most of the disc is hesitant and minimal with tempos in flux. Tepeu is an excellent audio track to life and makes for perfect background music (especially when working on a zine!). (Pax: POB 697, Pacific Grove, CA 93950 USA : e-mail : web site) J Mundok

Ernesto Diaz-Infante/Zzaj - Triple Dose (Ind) Diaz-Infante’s spoken word over a barrage of sounds, samples, musical phrases, or whatever strikes the fancy. It’s hard to tell what was played live and/or by whom. The 16 tracks stay consistantly and extremely busy and sometimes frantic with different flavors of wacked out jazz and spoken word floating in and out of audible range. Similar to what an entire album of “Revolution No. 9” might sound like. Diaz-Infante and Zzaj definitely push the experimental line to the limits on this release. It’s hard for me to listen to all 72 minutes in one setting but then again I could listen to one droned out chord for half an hour. (E-mail: Web: J Mundok

Dream Into Dust - No Man’s Land (Chthonic Streams) From the dark mind of derek rush, comes this 4 song MCD. The first two tracks are laden with heavy industrial percussion and deep dark synth tones providing the foundation while rush emits strong feelings of isolation in his vocals. The third track “Dissolution” projects much of the same through a shower of electronic noises and drones under layers of keyboard drones and swirls. Influenced by Theo Angelopoulos’ epic journey Ulysses’ Gaze, the last track “Seasons in the Mist” blends acoustic guitar and vocals with electronic noise for a haunting conclusion. Highly recommended for those wishing to spend some time the darker side. (chthonic streams: po box 7003, NY, NY 10116-7003 usa : J Mundok

The Dylan Group - Re-interpreted (Bubblecore) In a vein akin to cerebral jazz/head/prog-rock luminaries like The Azusa Plain, Tortoise, or To Rococo Rot, The Dylan Group play with some heavy concepts (layering different tempo beats, playing fast breakbeats on an actual kit, etc.) in their multi-instrumental approach, so just like the aforementioned bands, they lend themselves well to remixing by “beat” oriented producers. This CD is a wonderfully diverse collection of treatments to most of the songs on their album It’s All About (Rimshots And Faulty Wiring) that will no doubt appeal to anyone familiar with the band or the remixers involved. The ever-beloved We do the Midas thing with “Bittersweet (Hot & Sour Mix),” turning in some of the high pitched d&b squelch they craft so well. It actually sounds a bit similar totheir own track “Believe Porpoise” which could make for some excellent experiments from the bedroom mixologists. Japanese boss Nobukazu Takemuraquickens the pace as well with a bit of scratching and some antiquated drum machine antics on “Decay,” but if slow and low is the style, let’s talk about the hazy, rimshot-reverberations and thick-as-fuck bass lines pouring out of Him’s remix of “Sandcastles.” That shit’ll bring Babylon down. On the flipside, former Tortoise member Bundy K. Brown spreads a little Chicago-stylee on his “Sandcastles” remix, which I’m convinced is the sound of make-out music for the next millenium. In addition to the artists, respect is due to Bubblecore for bringing this pool of talent together, similar to the benefit compilation they put out last year The Corners Of My Mouth, which featured Mouse On Mars, Scanner, Aube, and Oval among others. This label is one to watch. (Dave Bellard)

E.H.I., Hal McGee & Separation - Homemade Alien Music This three way split starts out with E.H.I. supplying 5 mesmerizing tracks. The Mouth of the River layers random “whistles” over a hypnotic bed of quick pulses. Meanwhile, Birthday Illusion is a sonic assault which distorts and manipulates what sounds like a montage of shouting samples creating a very “violent sound.” There’s something going on back there, I just think it’s going to take me a while to figure out what it is exactly. Hal McGee follows with 4 tracks, my favorite being Device of Unknown Origin. Swirling crystal keys surround a frantic “high key” piano piece while a mid ranged pluck lays down the somber melody. Unlike Device, the remaining 3 contributions from Hal rely more on distortion and static. Although the basic foundations are shared, each track contains many other qualities, such as the repition of Compression and random beeps and pitch bends of Visitation, creating very distinct identities. The disc ends with the 25+ minute Seeded by Separation. Three or four constant tones at various pitches drone through the first half changing so gradually it’s 5 minutes into the song and I realize it sounds completely different from how it starts. At one point the song sounds like a synthetic stream. The middle mellows way down to very sparce, barely audible, soft tones. By the 20 minute mark the tones have risen and become more tense and piercing, remaining that way for pretty much the remainder of the track. The disc as a whole is a cool abstract picture painted with sound. (EHI, FDR Tapes, 1258 E 25th St, Des Moines, IA 50317-2619 USA : Hal McGee, HalTapes, 1909 SW 42 Way Apt E, Gainesville, FL 32607-5407 USA : Separation, Corpolith, PO Box 1041, Buffalo, NY 14215 USA) (J Mundok)

Electric Bird Noise - Unleashing the Inner Robot (ArtFag) “Number Four,” the first track, screams out of the gate reminding me of a bad flashback involving night train and a Joe Satriani record. Mere moments later “Lazy Tumbleweeds” turns my shocked countenance of disbelief into a soothing smile as guitar and keyboard beds swell and drift over sparse percussion hits...ahhhhh, much better, thank you. Electric Bird Noise is Brian McKenzie with help from Rev. Doc. Scromps & Trey Mcmanus. Unleashing the Inner Robot is a very guitar driven disc (with guitar credits given to both McKenzie and Scromps) that lingers around mid-tempo loops & sparse keys with emphasis on the guitar melody lines. “The Hum of the Moon” is clearly the stand out track on the disc containing an incredible (and very beautiful) reverb drenched repeating guitar melody. Follow the moon, my friend, follow the moon. (5708 Long Leaf Dr, Myrtly Beach, SC 29577 Web: official site E-Mail:

Falling You - Mercy (Adastra Records) Let me start by saying that this CD was so overplayed by yours truly that those around me asked politely that I take it out of the player for a little while at least. This record is what ethereal music should sound like (according to J’s book of music!). Lush soundscapes pour from the speakers filling the room with an audio scent as beautiful as the dreamy swirling purple and pink flowers that decorate the jewel case. John Zorko is listed as the blood, while vocalist Jennifer McPeak is the life. Together this is the body and soul of Falling You. McPeak’s vocals drift over the musical beds written and created by Zorko and performed on a variety of ambient keyboards and piano (guts). There are an unusually high number of male/female duos in ethereal music but Falling You clearly rises far above the norm. This is an excellent piece of work. (E-mail: Web: J Mundok

Peter Fand - Dedication (Mother West) “...It is an ancient sound, like that of moving water,” states the liner notes and I couldn’t agree more. Dedication is 55 minutes of solo kora, a West African 21-string harp traditionally of the Mandinka people. Accompanied by such instruments as flute, chimes, cello and bass, the music feels almost oriental at times. All seven compositions were conceived as accompaniment for yoga and meditation classes. The result is an extraordinary collection of beautiful tracks perfect for relaxing in any moment. ( : 107 Wyckoff St., Brooklyn, NY 11201) J Mundok

Flatline Construct - Phase II: Scourge (Ind) K7 this tape opens up with the first track being some flanged out textural stuff, then moving onto walls of harsh noise in following tracks, with some high feedback delays, spacy sounds, and low frequency rumblings going on. all in all I would describe this tape as being not too harsh, but definitely very interesting to listen to, good for background music or for something somewhat meditative to just zone out to. there are also darker moments towards the end. in my opinion, these experiments turned out rather well. (POB 57, Keene, ON K0L 2G0, Canada : e-mail : web site) deon

Front 242 - Re:Boot (live 98) (Metropolis Records) Well, any fan of industrial music worth his weight in cow-dung has heard of Front 242. Being one of the first industrial bands ever, 242 ended their otherwise phenomenal studio career on a fairly disappointing note, with the subpar Off! release. So you could imagine my worry when I heard that Front 242 was reuniting the classic lineup for a new tour-- ReBoot. They would have a new sound, influenced by the modern electronica movement; their look would not be the classic 242-military look. How would it turn out? I was intrigued. Unfortunately, I had to miss them when they came by me, so I was elated when I discovered this CD was to be released. I wasn’t let down. First off, the new sound of 242 isn’t that different from the old one; just modernized, a little more frenetic, a little more challenging. The boys in 242 sound more energetic than they have in years; much more so than they were on the ’93 Lollapalooza tour for Up Evil. Richard 23 and Jean-Luc DeMeyer split vocal duties as usual, with Daniel B. and Patrick Codenys’ synths blazing in the background, and Tim Kroker on guest-drums. The setlist is chock full of 242 classics-- “Masterhit,” “Religion,” “Crapage,” and of course the prerequisite “Headhunter.” I can hardly listen the originals now; these versions are almost better! “Religion,” once a midtempo song, blitzes the listener with percolating synth and a sampled guitar; “Happiness” hauntingly brings the listener into F242’s spell. On the whole, the songs are familiar, but with enough twists and alterations to make them fresh. The only real let down on this CD was the last track, a version of “Punish Your Machine” which was unrecognizable to me until I looked at the tracklist. But on the whole, this CD is an amazing return for a pioneering band that no fan of EBM should be without. (Daniel J McCullough)

Greed Engine - Blue (149 Records, St. Pete, Fla.) With all the varieties of music these days, it’s hard to come across a band that not only is a bit reminiscent of others, but has its own distinct sound & style. That band is Greed Engine. A 3-piece from Tampa, Florida, they have been together for not even a year, yet have played just about every venue here & have a following. To summarize them I would have to say they are a cross between Live & Social Distortion with elements of their own unique nature. The drummer hits hard & smooth, the vocals are crisp & packed with strength & emotion & everything blends together. “Blue” is their first release, chock full of 12 tracks (the last track is played backwards) & none of them let you down. I was told their most requested fan favorite is the title song & now I can see why, yet the entire first half of the disc continues to blow me away. The winners on the disc are “Pick-Up Line,” “Hammer,” “Blue,” “Stupidkind,” “One in a Million,” and “Dreaming Fool,” but I enjoy the entire album. This band has much potential & I wouldn’t be surprised that within a year they make it out onto the national scene. Everything they have to offer is a welcomed addition to the musical scene. An A+ in my book. (Web: GubXFook

Morgan Guberman - Hamadryas Baboon (Pax Recordings) About 2 minutes into this disc I realized it was not going to be an easy trip. Cerebral music. Two robots having a conversation without a universal translator. Howls in the distance. Creaks and crackles. Banging. Stretching. Plucking. Pulling. Scratching. Screeching. Heavy machinery humming. And all resonating from the body of a solo improvised contrabass?!? AMAZING. Then came the last two tracks where Guberman is accompanied by the heavenly (and sometimes dangerous) voice of Aurora Rising. One word...brilliant. (Pax : POB 697, Pacific Grove, CA 93950 : : Guberman - J Mundok

Guberman/Ehlis - Exotic Zoology (Independent) Three untitled pieces of ambient improvised experimentation recorded live to DAT in December of 1997 (warts and all). Morgan Guberman chimes in on bass, vocals and electronics and Chuck Ehlis contributes guitar, found instruments and electronics. This is only the second piece of work I’ve heard from Guberman (the first from Ehlis) and if you’ve had the pleasure of hearing Guberman’s Hamadryas Baboon (solo contrabass) you’ll understand when I tell you it’s sometimes very difficult to tell which sound is coming from which instruments. Full of squeaks and squeals, beeps and drones, Exotic Zoology is not just extremely ambient, it is extremely interesting. The first track contains beds of vocals not unlike something you might hear on Peter Gabriel’s Passion. The second track’s sounds are layered over what sounds like pipe percussion and the final track contains more recognizable bass and guitar riffs but drowning in delay...I love it! (2630 Union St, Oakland, CA 94607 : Guberman - J Mundok

House of Wires - You Are Obsolete (Tooth and Nail) I know nothing about this band (as I didn’t receive any bio info and received an advance artless copy of the disc). But I can tell you that I was hurled back in time to the glory days of Vince Clark. The beat is clearly electronic (early drum machine sounding), the keyboards sound like keyboards and the vocals do nothing to prevent the listener from thinking one thing - new wave. I feel as though I must let my bangs grow (and slap on some eyeliner) to give this an appropriate listen. (Tooth and Nail : POB 12698, Seattle, WA 98111) J Mundok

Irreligion - Eyes of the Lonely (bizarre depiction) Now here’s a cassette that comes out spankin’. From the first track, “Ashes,” to the fifth and final track, “Too Distant,” Irreligion mixes a gloomy metal foundation with 90’s industrial sensibilities. Most impressive is the metallic guitar sounds Michael Million achieves throughout the recording. Walking the fine dark line between metal and industrial, the tape may not be for everyone but certainly for those who like thier tunes a bit spooky. (E-Mail: Web: J Mundok

JMundok - Saturated (Jack Kettle) I sit here listening to mUNdoK’s second release under his name & am taken away. An atmospheric/ethereal trance has overcome me, filling my head withsolace & my body with a feeling of release. Knowing beforehand about the instrumentalism of the disc I was not prepared for the texture & the “ride” it took me on. The sounds flow within eachother creating a surreal soundscape where the listener is there, experiencing all the emotions one can from the blending & harnessing of sound & music. Imagine yourself floating endlessly in space..... Or standing on a plateau in the middle of nowhere. It is magnificent. MunDoK put together one of the finest pieces of music I have come across to-date. Kudos to J! (email) Gub X Fook