L.I.E.S. (Long Island Electrical Systems)
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Limited Edition of 300
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Justin Broadrick isn’t the only Napalm Death alumnus coughing up killer beats. Mick Harris, who dusted off his Fret alias two years ago (it had lain dormant since 1995), is also on a tear, having dropped a sprawling album on Karlrecords in 2017 and now this, his second 12-inch for L.I.E.S. The EP features four slabs of industrial techno that bury fidgety beats under mountains of reverb, beastly roars and grimy decay.
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The A-side’s ‘Demonic City’ sounds like a Legowelt joint just after the codeine has started to kick in, with everything potently dragged and smeared to druggy effect. B-side’s acid-electro wriggler ‘Disassembled Self’ follows farther into a murky middle distance, eventually locking into a proper slompy jak, and the entrenched trudger ‘Life Of Insubordination’ comes off like one of V/Vm’s later New Beat productions
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Unrelenting and unrepentant, the EP bristles with seething energy between the stressed squeal and cloven hoof of ‘Don’t Belong’ and the needle-fanged EBM bite of ‘Cruising’ up top, before rinsing out the skull-swilling 142bpm acid of ‘IQ 303’ and ‘Enemies’ to make us feel like we’re 17 again, on our first gary, and chewing the speaker stacks at a small town rave.
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If you’re yet to add a Creme or L.I.E.S. record to your collection this year let this Creme Organization Valley Of Shadows x LIES EP kills two bids with the one stone. Or you could just get it for Randomer’s obliterating “Ugly Drummer”. Legowelt throws down some spiralling Detroitisms in “Only In America” following the colourful club construction Innershades provides in “Acid Rehearsal”, and to match the brutality of Randomer’s A-side cut is Ron Morelli’s “Signal Jam” retooled as a darkly bending slab of cathedral techno by Greg Beato. Simoncino provides more of his usual sequenced Chicago house prowess in “Earth & Nightfall” leaving Willie Burns to let loose on the keys in “He Is Crazy Enough” when closing out this radical compilation.
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Out of stock
The English Beach is an abstract portrait of Dungeness, written by Ho during time spent living there. The album, Ho’s second as Broken English Club after Suburban Hunting, is a response to the psychogeography of the place—the narrative, both real and imaginary, hidden beneath its geology. The eerie ambience and the contradictions of Dungeness, along with the conflicting metaphor of the British seaside itself—a place at once filthy, ruinous and comforting—are all in play across the record.
