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Tel Aviv based two man project TV.OUT has been making a name for themselves these last years putting on impressive live sets, djing around the world, and running their Paralaxx imprint releasing various strains of rugged, well informed electronic music.
On their debut for L.I.E.S. we get a smoking three tracker spanning styles that would not seem out of the place being played on the West Coast of Den Hague in the late-90s. Think early Legowelt meets Coca Disco meeting heavier techno sounds as a starting point. Club gear for the gearheads.

Debut LP from one of the cornerstone's of the L.I.E.S. label, Terekke - 'This record contains 5 years worth of electronic experimentations, the bulk of which were recorded while living in the EU, and mixed down at a studio in Amsterdam. The music was sequenced on a MPC and an inexpensive digital keyboard with reverb and delay.'.

Opening with the lucid coastal ambience of "Tack" and into the rigid stomp of "Bb2". "Need" sees a calm but bass heavy swamp of sound slowly churn, elusive currents and underwater ripples offering up some kinda of momentum deep within the drift. "Swim" is covered in an semi-organic patina, microcosmic life forms sprouting up from the exotic flora. "Mix 91" sees Terekke explore a dubbed out and echo-laden environment, sparse and reverberating and somehow equally in tune with the Idjut Boys tape-delayed dancefloor experiments. "Padi" sees the serene and content nature reach a natural zenith, effortlessly elevating itself into the heavens through skilled synthesis and a sympathetic ear. Finally, "Closer" allows ripples of Chain Reaction-esque flux collide with a heady, suspended pad preset; an endless flow of gorgeous, thick sound which sees the album drift off into infinite. A truly impressive body of work from Terekke. If you liked Huerco S' LP from last year or the celestial gloop of Burial & Zomby, then I'm sure there's plenty for you to get stuck into here. Most recommended. 


Matt says: I love it when someone who's previously been responsible for arse-tearing techno and industiral business, turns their hand at something more enchanted and ethereal for their full length excursions. No one wants and hour and a half of wall shakers, Terrekke perfectly addresses the dyanamic balance, across eight tracks, yet remained decidedly modern and focussed.

Svengalisghost captured here in his most true form, the live setting. This recording comes direct from the board during his performance on French television in 2015 and harnesses the maniacal energy of his live set in perfect form. What may be the Chicago born artist's darkest and most plodding recording to date, this is the definintion of deconstructed death-industrial, forward thinking and freeform yet totally focused and razor sharp, plodding drums over open wire electronics and zodiac killer vocals hitting you from all angles. This is sound of evil personified. Limited copies available worldwide. Necessary evils for yer bag, grab it while its hot.


Matt says: A truly arresting, haunting and terrifying excursion into sound here from the already hyped Svengalisghost. Drinking from the same PCP-laced broth as The Trash Company and much of the Dark Entries camp, with a bit of Ron Hardy's sherm thrown into the pot for good measure. Warning! - will fuck you up!

Following up his self titled 12" earlier this year; Austin, Texas-based Shane English continues in his path exploring the deep and bizarre edges of the American DIY electronic world. Over these eight tracks we get English's dissonant take on collapsing industries, the ever growing immunity to antibiotics and the failing nature of human consciousness. Inspired by the failing American Dream and society's great demise, it highlights an era dominated by micro-species - insects, bacteria; and cybernetic implants. A land devoid of human experience, novelty and warmth; haunting, slightly menacing and heavily impacting. If you lack optimism about the progression of our species on this planet, then this is the record for you! 

Eric Copeland

Courtesy, Professionalism, Respect

Copeland brings the (schizoid, neon, frenetic) noise for his newest LP on L.I.E.S. Kicking things off with the juddering lo-fi stomp of 'Convoy', pushing hi-passed snares and delayed synth squeals through the mincer and ending up with some mechanically recovered heat, slavered liberally atop a solid foundation of mealy kicks and shuffled hats. 'Qualified' continues where we left off where vox are concerned, taking the mean voice of a hundred robots and gating them with some brutal sample & hold abstractions. In case this wasn't enough of thematic giveaway, bit-crushed synths fire off like lasers into the neon-lit heavens, turning the casual romp through the dystopian wilderness into a climactic white-knuckle boss-fight. 
Moving further along, and 'Doggy' presents the first indication of rhythmic convention, with lithe bass fragents flickering over a classic four-to-the-floor percussive backdrop before pulling out the flicker-machine once again to heavily treat the melodic overtones into a brittle amalgam of crystalline pulses and terse filter cuts. 
'Ultimo' veers into lite grime territory with sqelchy digital synths weaving their way around the cut-up vocal snippets and tinny flanged cymbals (it would sound great blaring out of a nokia speaker on the back of the 168). Brilliantly futuristic but with nods to everything that has secured its passage up to this point. Copeland has always pushed the boundaries, and this is no different, it just so happens that his boundary pushing has veered squarely into the wonky lo-fi house/techno/misc zone I find so appealing. RIYL Opal Tapes / Cloudface / SNES.  


Barry says: Brilliantly eccentric soundtrack to futuristic mishaps, last-life white-knuckle gaming and dusty sampler glitches. Superb.

After three stand out eps over the last three years for L.I.E.S. Tzusing delivers his debut lp for the forward thinking New York label. Here we get seven tracks of precison crafted electronics, unmistakenly taking the artists signature industrial fueled sound and opening it up to a new dimension far beyond the typical metal beat clang. Emotional, dark and powerful, the album title taken literally means "Invincible East" based on a character (a swordsman) in a Jin Yong novel who must make the ultimate sacrifice to attain knowledge and transform. The narrative goes in hand with the artists observations living and travelling throughout Asia and provides a haunting soundtrack for a bleak future where few dare to subvert the power structures at hand.


Patrick says: I'm all for a bit of Tzusing, and the producer's latest offering takes his trademark crunching electronics and clanging beats into a new realm of dark and dystopian sound design.

American experimental musican Shane English offers up an expansive long player for Ron Morelli's cult LIES label. On this outing we see the producer collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name). Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Cohesive throughout, you can easily find yourself lost in the blurred, Event Horizon style eeriness. Evocative and highly engrossing, this is the soundtrack to being alone on an abandoned space station with only radio signals and the IR spectrum as company.

New York by way of Miami, Nick Klein has strung together an impressive discography over the last couple years releasing music for Alter, Ascetic House, and Bank among others, while at the same time handling his own Primitive Languages imprint bringing to life music by a wide range of cellar dwelling freaks. Some time in the making, we now see Klein with his debut on L.I.E.S. displaying, over four tracks, a wide range of production styles, each effective in their own right. From side-chained jack to peak red drum work outs to computer based minimalist bit destruction this EP proves to be a crushing statement from an artist coming into his own. Forays into wormholes, mainframes and plasma swamps for rave goblins, techno zombies and dancefloor mutants throughout the cosmos. Recommended! 

The Argentinian based NGLY had seemingly appeared out of thin air landing on the Brooklyn based L.I.E.S. label in 2014 with an untitled four track white label ep. On this ep, the unsuspecting track "Speechless Tape" ended up becoming a cult hit with select djs in the scene (I-F, Mick Wills, Intergalactic Gary...) eventually leading to it being voted as Intergalactic FM's #1 track of the year in 2014.
On the heels of his successful debut Rudolfo could have stayed the path and produced an easily digestable follow up dance record or two, instead he chose to take his time and reflect. Sitting back in the studio tweaking his live act, recording endlessly, transforming and refining his sound.

In the end we get his debut eight track lp, Cities of Illusion, a record that walks a fine line between many of the original strains of the electronic realm. The elements are all there to be picked apart, to be used, to be abused, thrown against the wall smashed to bits...played in the club or on the late night mix shows, it's magic you heard in the past and crave in the present. To say the music on the lp is one thing or another is an pays reverence while at the same time turns a corner; held together by a loose yet cohesive thread. It is a full presentation that is unafraid to challenge or confuse, with no concern for genre imposed limitations.


Barry says: Brimming with a futuristic heft and chronic saturation, this is a gutsy and forward-facing electronic adventure. 808 claps and bouncing saw waves dive headlong into dissonant vocal echoes and shadowy churning washes. A far-reaching, ambitious and resolutely successful outing.

Bit more of a dusty, post-apocalyptic vibe on this one from 45 ACP. A1 kicks off with huge sounding marimba stabbing over some decidedly guttural churning, soon to be joined by wizened percussive thumping. As the tension builds, so do the atmospherics, layering and building exponentially before breaking down into a groovy, swaying industrious head-nodder. 'Smoked Out' is predictably laid back and wonderfully lucid ambience, punctuated with gunshot snares and reverbed slaps, all accentuated with saturated broken chords spitting into the forefront. Side B definitely has more of a doomjazz essence about it. Slow-mo techno and cracklng house chords swirl and swoop around, driven by a cracked sounding percussive loop. The eponymous track is a fitting and bleak ending to a stunning set : drifting and serene but unsettling to the end. A superb display of what diverse production talents 45 ACP has. 


Barry says: A triumph in tension and release. Ambient drifts soar around the stereo field, shimmering saturated keys and crackling fits of percussion slice through the thick ambience. Driven and rhythmic but brilliantly masked under a layer of suffocating dust. Further evidence to the unending talents of this gifted producer.

NGLY makes a return to L.I.E.S. following his highly lauded "Speechless Tape" EP from 2014. Since then we have seen Argentinian producer taking his live act around the world to much acclaim. Luckily he's also been in the studio recording and finally delivering this new three track EP. Here we get his signature dusty low slung sound full of basslines, creeper strings and driving drum programming. These are subtle yet effective funk-ridden club tools that are sure to move the floor and a precusor to even more from the in demand producer.

From 2012's "Hassan" LP to his "Territories" record from a couple years back we now hear Jorge Velez taking his sound into new realms on this five track long(ish) player. In what can be called a foray into animal-themed electronic experimentation - recorded using only Fairlight CMI samples and a Microbrute synthesizer - we hear a melodic side to his sound previously not present in his other works. Hints of Musique Concrete as well as Eastern influences creep about in a teasing manner bringing the listener into a dream world of digi-nature, electronic bird chips and 8-bit waterfalls.. A welcome and refreshingly unique listen.

Danny Moore aka Pvre Matrix is from a generation of young techno producers out of Brooklyn who come at the music without preconcieved notions or boundaries in their approach to production and playing live. He is the epitomy of the slash and burn blitzkrieg attitude of new producers popping up under the JMZ everyday. While very interesting to see the scene develop this way, few have executed in such a fashion as Pvre Matrix has. Impeccabily produced without losing its sense of urgency or brutality and clocking in at breakneck speed, Pvre Matrix is out for blood, and his three track debuts prove as such. While you might not catch Danny Moore in your local big room anytime soon, he is undeniably a force that is present and will crush you regardless.

On this debut four track EP by Slugbug we get four tracks of dark electronic hybirds made for the open minded DJ and club-goer.

Sitting somewhere between the blurred lines of new wave tinged beat tracks, off-kilter electro and psycho-house this record is made to make you work and the club sweat. It's EBM meets acid house in a dark corridor.



Delroy Edwards smacking on L.I.E.S. 2014 Record Store Day Edition: Remastered and re-cut by Matt Colton at Alchemy Mastering, London. Comes with brand new artwork.

Original 2012 release text: "Just when we had our doubts about the West Coast, Los Angeles via NYC producer Delroy Edwards steps up with his debut release for L.I.E.S. Musically Edwards takes his influences from that Barney's Ghetto sound with oversaturated 909 shuffling highs, DX bells, 101 filters and ends up making fresh, and yes, melodic ghetto style tracks that somehow get stuck in your head even without vocals. A unique take on a modern classic with the dancefloor in mind."

Entro Senestre

Root Canal / Siamese Connextion

Following previous releases on WT and Echovolt Records, Entro Senestre makes his L.I.E.S. debut with the two track "Siamese Connextion" EP. After the respite from L.I.E.S. usual technoise stuff on Legowelt's EP last week, Senestre resumes hostilites with the brutal "Root Canal" which stradles the techno / electro divide. Starting with a blown-out stuttered kick pushing air out the speakers and coupling it with synths and melodies that wouldn't sound so far off in an Ultradyne song, "Root Canal" crushes the listener with an intense barrage of weaponised distortion. On the flip, "Siamese Connextion" is a completely different animal clocking in at nine minutes of lush chords and melodies, building up and breaking down throughout. The undulating waves of sound and relaxed beat provide the perfect early morning modern house sound.

A huge departure from his known works, Marcos Cabral appears on L.I.E.S. with his most dynamic and experimental work to date, the 'False Memories' double album. Compiled from various cassette tape recordings spanning the years of 1998-2000, here we have the early experiments from an accomplished producer, which showcase the unharnessed energy of youth when it crashes head on with the technology of the day. The tracks created by Cabral reflect his attempts of the music of the time falling somewhere in between techno, dub-techno, IDM, and even noise (actually, especially noise - you'd think our new 'technoise' section had been created just for this release!). An engaging and timeless listen the whole way through.

Marcos says: "I recently found about three hours of my unreleased tracks from 1998-2000 on old cassette tapes. The collection that I set aside for LIES is pretty much all from 1998. During that time, I lived in upstate New York in a 3000 square foot loft with just one other friend. Both being DJs we would use our loft for fairly large parties... Cajmere from Chicago definitely being a highlight. I knew nothing about "making" music at this time and was using this fairly primitive wav. looping program called Acid. I just started recording my crappy Roland MC-303 into my computer and would just mash loops together over and over. Listening to these tracks now, I have a really vague memory of making them, and feel that their naive nature and the happy accidents that happened here are pretty exciting to listen to."

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