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Releases on Silent Servant’s Jealous God imprint in 2015 and the 6-1-6 cassette on Total Black in 2016 served as formative sonic gateways leading up to this album, as we hear 51717 expand on her cold minimalist sound design.

The music on “Paranoia Star” is a collection of songs composed during various points and throughout travels between 2013-2018. Thematically, much of it revolves around inherited and lived traumas, taken in, processed, and finally transmuted into sound. Shades of modern computer music minimalism, Concrete experimentalists, and good ol’ DIY American smut electronics (ala John Zewizz’s “Women of the SS” project) come to mind through this recording. Haunting vocals float next to jagged synth lines, primative pulses set a tone as the message is carried out to the listener.

Field recordings from domestic and ancestrally charged locales mesh with primitive electronic composition, forming a narrative via repetition, moving stillness, restraint, and tension. 51717 keeps her sonic sources hidden, rather focusing on the transmission and decay of overwhelming thematic elements into minor sonic forms.

Here, her work touches on implicit musical tensions between noise and silence, language and sound, material and transcendence.
Unnerving and spacious, yet disturbingly uncomfortable, “Paranoia Star” emerges slow, furious, erotic, wet with thousands of years of violence informing the whole.


12" Info: LP comes with full color 22x28 poster and download card .

L.I.E.S. continue to go from strength to strength as their transmissions begin to explore more disparate corners of the electronic music world. KWC 92 is the collaborative project from Samo DJ and Max Stenerudh who make a stunning debut on Long Island Electrical Systems. Packaged inside a gorgeous and vibrant sleeve, adorned with Chinese script and grainy photos, "Dream Of The Walled City OST" is the conceptual and imaginary soundtrack to events unfolding in Hong Kong's "Kowloon City". Opening movement "Dreaming Of You" begins with radio static and rainfall, conjuring up the spirit of Vangelis' Blade Runner soundtrack, before moving smoothly into the breathy flutter of Dizi and Koudi and the warmth of those expansive new age pads. "Night Drive" pairs a simple drum machine rhythm with droning synths and excited ululations evoking a midnight drive through street markets into the hills. "Missing" picks up where "Night Drive" left off, replaying the progressions and motifs of the previous track with a more focussed sound palette over an insistent and driving beat. "Macau Ferry Terminal" skulks out of the speakers, hiding in the shade of droning synths, resonating sine waves and eerie electronics. The natural soundtrack for the gateway to the notorious gambling island. "KWC 92" is a expansive and expressive synthesizer nocturn to the silence and stillness of a metropolis from viewed from the top of a tower block. Closing the set, the uneasy but beautiful combination of the organic and man made, expressed through field recordings, the cadence of a Konghou, drum machine rhythms and dreamy synths perfectly sums up the yin and yang of the province.

Chicago's Beau Wanzer returns to Ron-Mo's exquisite LIES label for more of his bizarro, crunched-out electronics.

A certain cultish air surrounds this producer - whether that's through some choice live appearances at tastemaking institutions such as Bohemian Grove; or whether it's his infallible style in the studio that teases underground labels such Russian Torrent Versions and this one to eagerly seek out material from this elusive cat. Whatever it is it all adds to the mystique and intrigue surrounding this fearless sonic explorer.

Kicking off with the vintage electro wiggle of "The Grim Whim", he leaves it till "Wick Hunny" to deploy a thick, gliding mid-bass hum garnished with creeping arpeggios in order to truly saturate our cerebrums. Comparisons with Terrence Dixon only add to the mystery I'm sure, as Wanzer imparts a more demonic darkness than his Detroit counterpart.

"Moistures" sees more fine sound design, a wet, flapping, detuned oscillator piercing through knackered drum machine hits and a unfathomably dark, TCP-fuelled vocal menace while "Shitty Cough 3" concludes with more broken machinery chunnering out some lost industrialized communication path between vintage space age tools. Another sterling release from the Long Island team. 


12" Info: comes with a huge 22x28 newprint poster in japanese sealed poly sleeve

Originally released as a limited run cassette on Low Jack's Editons Gravats label in 2017, we now get an official vinyl pressing via L.I.E.S.

Krikor Kouchian serves this killer soundtrack to the documentary 'Arabie Saoudite: Les Liaisons Dangerousness' Where the French TV program focuses on the Saudi royal family’s support of Wahhabism and the West’s appeasement of Saudi foreign policy, Kouchian underlines and accentuates the content with a brooding blend of mirage-like electronics and minimalist drum machine geometries. A deviation from his previous works and one in which he moves into appropriately darker synth territory.

Rich Oddie (Orphx) and Dave Foster (Huren/Teste) return under their punk/industrial/scum electronics moniker O/H. These 5 tracks are an amalgamtion of dense, yet somehow stripped down heavy industrial punk electronic madness.
Open filter feedback drenched MS-20 and punishing 909 beats crash head-on throughout with Foster's Jello Biafra-esce vocals through a meat-grinder stylings fight with a ranting homeless man as he raids your uncles's 80s porn vhs collection. Controlled chaos written recorded and put to tape as modern society falls apart in front of our eyes. Absolutely what the world needs right now (according to us).


Sil says: Lies, lies and more lies! The factory never shuts. Savage uncompromising techno straight to the jugular. You will not hear this on BBC Radio 4 anytime soon. But if the world comes to an end - and it will come - this is your soundtrack. I dig 'Poverty Line' very much. A bit shouty but great lyrics nonetheless.

Hailing from Sao Paulo, Brasil now currently residing in the outskirts of Europe, Fernando may be better known for his more floor oriented releases as Innsyter or Seixlack. Fans of PPU take note!
For this release, his first lp under his given name, we get a vast array of mutant electronics with surprisingly insane, almost pop, songwriting structure over 15 tracks. These songs conjure up a weird netherworld where all things bizarre and wrong come to head and spiral out of control.
Think the drum machine driven punk funk dub outs of 80s New York City meets the catchy low fi charm of Ariel Pink combined with the element of chewed up vhs cassettes getting spit out of the machine and your on the right track. Fernando manages to create a truly unique sound that's equal parts catchy yet has sinister, underlying back alley undertones. Check "Actual Job" for immediate Arthur Russell vibes or the VHS boogie of "Erotic Moments" for starters. 


Sil says: Brutal and uncompromising album here from the L.I.E.S side of techno. It is techno but not in its dance form. This is appropriate for home listening as much as soundtrack for your lysergic and psychedelic trips. Think of Moon B and you are not far off what we are dealing with. It is good. It is very good.

Broken English Club is UK techno stalwart Oliver Ho's newer, more industrially aligned alias. Following last year's "The English Beach", he describes "White Rats" as 'a collection of caustic and absurd portraits of the human animal'. Metallic, ringing drones characterize much of the background atmosphere, with distorted guitar, weighty synth arps and pounding drums making up most of the meat and veg.

L.I.E.S have stated that this is the first part of a trilogy, with the album sleeve featuring the disturbing and erotic photography of Javier Gallego Escutia and with initial copies coming with a full size poster - nice! 


Matt says: Causing me instantly to don black eye liner and big goth boots, Oliver Ho's new industrial alias is as scary and menacing as it is gut wrenchingly turbulent. Full marks!


LP includes MP3 Download Code.

New York City by way of Miami, Alex Suarez delivers his debut lp the eight track "Autogolpe" for L.I.E.S. Autogolpe, is a term for military coup initiated by a dictator to take control of an existing government and Suarez uses this loose idea to create the range of emotions associated with said act. Musically he expands on his prior releases for Bank and Primitive Languages as heavy industrialized sonic beatings sit next to somber passages; oil drum slow beat tribal clangers provide a back drop for screams shooting out of the dark. Musically it paints a distorted picture of world in decline, an exile from another land and arrivial to anothers in chaos or the clinging hope of something better on the other side.


Patrick says: Gloomy and dystopic, Alex Suarez' debut LP muses on military coups, offering hissing ambient pieces, abrasive industrial workouts and polyrhythmic techno snarlers over the course of eight impactful tracks.

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. The electroid snap of "Further" gives way to the techy pulse and melancholic synths of "Moon" before the bristling perx of "Galaxy" takes us down a darkroom wormhole.

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! 

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.



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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