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Monday, March 28, 2016

Dwight Twilley - (1982) Scuba Divers LP

Dwight Twilley's second album as a solo artist, 1982's Scuba Divers isn't quite as successful as his past releases. The production is glossier, the songs are not as sharp, and there is a slight lack of inspiration in places. Some of this feeling may come from knowing the tangled and depressing history behind the album's recording and eventual release; some of it certainly comes from the lack of energy and spark in some of the songs and performances. Still, there are some moments of Twilley magic and some great songs, like the absolutely lovely "Somebody to Love," the exuberant rocker "I Found the Magic," "Dion Baby," and the yearning "I Think It's That Girl." The album also benefits from the harmony vocals of Susan Cowsill, the continued presence of Bill Pitcock, and the fact that even a less than 100 percent Twilley is still better than just about any other '70s/early-'80s pop/rocker.

Dwight Twilley - (1986) Wild Dogs LP

Twilley's 1986 album Wild Dogs was recorded for Private I Records, a custom label run by independent radio promoter Joe Isgro that was distributed by Epic Records; however, when Isgro was implicated in a 1986 radio promotion scandal, Private I Records collapsed. Instead, the album was quietly released by Epic's CBS Associated label, where it went largely unnoticed, despite the appearance of the last Twilley/ Seymour song, "Shooting Stars".

Assassani - (2016) Daemonical Raw Tech Invocation CS

Fallow Field CS

Haraam - (2016) The Swords Tear Me To Pieces CS

Fallow Field CS

Noir Noir - (2016) Black Curtain CS

Fallow Field CS

Protector 101 - (2016) The Prime Directives CS


A Satan's Din release.


Thursday, March 24, 2016

V. Sinclair - (2015) Vignettes Of Intimate Reflection 3xCS


A full length recording of V. SINCLAIR's strongest works, comprised of material previously released on a trilogy of tapes: The Veiled Garden, The Bell Tower and The Cloistered Estuary. Taken separately these recordings provided distraction and intrigue, together they transform into a mood-altering, weightless hour of tempered industrial and ambient.

Silence Of Vacuum - (2007) 1 CS


1st tape of static yet multilayered noise sounds. Intense themes, not for the young or easily offended.

Silence Of Vacuum - (2007) 3 CS


3rd tape of static yet multilayered noise sounds. Intense themes, not for the young or easily offended.

Silence Of Vacuum - (2007) 2 CS


2nd tape of static yet multilayered noise sounds. Intense themes, not for the young or easily offended.

Silence Of Vacuum - (2013) 4 CS


4th tape of static yet multilayered noise sounds. Intense themes, not for the young or easily offended.

Silence Of Vacuum - (2015) 5: Under Three Layers CS


5th and possibly final tape of Silence Of Vacuum. Unlike previous tapes, it's more varied content. Style has remained close to the same since first tapes of project. Minimal electronic sound walls, where changes happen only on level of details, while overall sound is utterly static. Perhaps notch more variation here, also due tape including 4 tracks, one being complete live set from Lahti/ Finland, 2014.

Copley Medal - (2015) Teskind CS


In keeping with one of the label's unofficial priorities, PR is proud to release work from another of Syracuse's former residents. Ryan Martin, best known for his work in York Factory Complaint, On a Clear Day, and co-operating Dais Records, is the sole composer behind Copley Medal and has amassed a slew of stellar releases in this past year. Teskind is no exception, presenting a beautiful side-long exploratory modular piece for the title track. Following that are two movements of trademark tense electronics to close out. Beautiful work from an ever-engaging project.


Wednesday, March 23, 2016

Nico Fidenco - (2014) Emanuelle Perche' Violenza Alle Donne LP

Never say that Death Waltz Recording Company doesn’t plumb the depths of exploitation (or in this case sexploitation) to bring you great music, with a treasure being unearthed in the shape of Nico Fidenco’s score to Joe D’Amato’s EMANUELLE PERCHE’ VIOLENZA ALLE DONNE (a.k.a. THE VIOLATION OF EMANUELLE). Regarded as the best of the unofficial “Black Emanuelle” series, D’Amato’s film starts off with the same sexual freedom and exploration as the official one but ends up descending into a hard-hitting voyage of human trafficking and sexual violence. Fidenco’s music as presented mostly represents the character’s exploration of hedonism and philosophy, scoring hook-ups with a truck driver and a couple of Italian girls, and as such is pretty free-flowing and upbeat.
The fantastic main theme is repeated throughout the album alongside some interesting supporting material, including some great offbeat percussion and some slinky melodies with a surprising amount of wind instruments, along with a subtle female voice. Synths appear frequently, along with the expected driving bassline, and it’s not until the end when it gets darker and sleazier, as well as funkier in an almost prog-rock way. It’s a fascinating end to a smooth-flowing record that reminds us that music to sex flicks sometimes needs more than just a wah-wah pedal.