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It’s been almost six years since the release of the band’s critically-acclaimed debut album “The World Is Getting Colder”. Since then the half Brit-half German duo have established themselves as one of the most powerful and successful genre-defining acts throughout Europe, scoring 5 heart-throbbing albums and numerous performances all around the world, making them one of the most successful bands of the cold wave / minimal wave scene. Lebanon Hanover’s the 5th album “Alien” will be available via Fabrika Records on April 3, 2018. limited edition of hand-numbered 500 copies on standard black vinyl and 500 copies on dark green vinyl, as well as digital formats. Exploring the sonic and emotional range that the audience have learned to expect from Lebanon Hanover, “Alien” is built up in emotional vocals, liquid chords, dramatic keys, and distorted digital waves where the duo recalls the eerie clouds of industrial and goth 1980′s. The album depicts the dark honesty and profound feelings of two alienated personas with true romantic hearts yet feeling socially unrest. In each track, William and Larissa tell a different story which will sweep the audience through a deep, conscious, continual and wistful trip, and ultimately keep them anchored in feelings.
Pinkman records presents Five Years of Tears: A string of releases dedicated to celebrate the 5th birth year of the label. The first volume features contributions by 3 of the labels usual suspects, as well as newcomer Randstad. Ernestas Sadau’s powerful, raw and menacing cut starts sets the scene for Alessandro Parisi to delve deep into his synthesizer toolkit. What comes out is a highly emotional production, infused with sirens and melodies that may cause tearful mourning on the dancefloors. On the B side Identified Patient provides yet another one of his notoriously slow and filthy underground creepers, while Randstad delivers another burst of energy that celebrates raw percussion, gloomy pads and haunting vocal samples.
The wait is over. Dust off that old gimp mask and its time to go back on the prowl. The metropolis is yours to take and control. Leather-clad street hustler electronics from the year 3018. Get hacked.
The modern synthwave scene would be significantly poorer without the keen ear and tireless efforts of the Mannequin label run by Alessandro Adriani. Geographically situated within the nerve centers of Rome and Berlin, yet with a musical spirit that easily transcends these boundary lines, Mannequin’s back catalog has been an important component in the modular assemblage that makes up electronics-based independent music in the 21st century, and an important reference point for those who need to defend against the lazy accusations that this such is purely “retro” in its form and content. Recent accolades and accomplishments – being named Resident Advisor’s “label of the month” for May of this year, starting the ‘Death of the Machines’ 12” series, and being given the ‘green light’ for bi-monthly parties at the Säule room in Berghain – have been earned through Mannequin’s unflagging commitment to sonic diversity and Adriani’s own realization that the anxious and sharp-edged sounds associated with, say, the Cold War of the 1980s can convey a completely different message today. Adriani says it best when claiming that “there is no such thing as ‘old’ or ‘new’ music…only the music of now”. With this cogent statement of intent, Mannequin continues to go on exploratory missions to find the best and most relevant aspects of genres like acid, industrial, EBM, post-punk, coldwave and still more. Which brings us to Mannequin’s newest project and 100th release overall: the Waves of the Future double LP compilation, which itself is not a conventional retrospective collection. Case in point – none of the artists appearing on this collection have put out their own releases on Mannequin yet, despite acting as Mannequin’s unofficial ambassadors (via DJ sets and other means). This makes the set even more compelling rather than less so, since it shows how Mannequin fits into a larger picture that includes other scene leaders and label owners including Beau Wanzer, Willie Burns (WT Records), Silent Servant (Jealous God) and Ron Morelli (L.I.E.S.). Of equal importance is how Waves of the Future projects a sense of aesthetic resilience and continuity; showcasing just how well the current artists allied with Mannequin employ and re-interpret the sonic lexicon that appears on that label’s reissues of ‘classic’ acts such as Nocturnal Emissions, Bourbonese Qualk, Din A Testbild and Doris Norton. |
