DJ Subwoofer : Good Morning !!! Usely this time i sleep, but we had big earthquake on crete after 6:54 - 5,4 richter!!! Now i was not able 2 sleep again !!! i surfed around and find your page !!! Great music u have there !!!

Aaron Smith: Got my cds today, man that was fast! Royal mail kicks some ass. The cds are kicking my ass as well. superior products that you are infecting the world with dear sirs. I can't wait until next payday.

DJ Prae (Code Bass):: I like the style of your songs. The beats are exellent ! Keep the good work buddy !

Frank: :I discovered Berkowitz Lake and Dahmer yesterday through a link someone posted on the Brainwashed message board. I've been listening to everything they've put up on mp3.com and it's really wonderful stuff. I'm going to check out the other artists too.

log.a.rhythm:: Hi fellow I have just heard your music and can only say there are some really rolling clean tracks thereunder! Thumbs up! Keep on doing great music!

fILT/accidental music: Crunchcrunchcrunch [Stomping the Starstruck Hordes]

Modern Dance: Imagine an album made by Sam Berkowitz and Jeffrey Dahmer? As to Lake is, well, he, too, could be in the above small minority judging by the sounds on offer here. Fflint Central are no strangers when it comes to producing incredibly powerful and dark sound structures, Drain Salmon Forgery is no different. Obviously a play on words to the ELP album of a similar name, Drain Salmon Forgery is a nightmare journey through worlds and landscapes not even imagined by earthly explorers. Mormon Distortion kicks off the album, and sounds like an express train using a Hilti gun on your cerebral cortex. Solar Incision, let's just say it's a bellringers nightmare, and makes Tubular Bells seem like a picnic. Fluids For Dark Pleasures has to be the most amazing track I've heard in ages. It's like alien intelligence is learning a new language whilst probes and machines carry out maintenance checks in the background - it needs to be heard to fully appreciate this image. Because the album is made up of 16 tracks, it allows for the music to get in there, do what it has to, and then move on. Sound language like this needs time to come to terms with, and as such, this album is perhaps the best I've heard so far from Fflint Central. It's a superb way of introducing yourself to not only new 'music', but a whole new world of sensations, colours and language. Many of the titles only hint at what they contain: Thermal Coves, One Mile Below, Djinn Hole, Homunculus, Levitationarium, and Interstellar Underwear. Not the kind of album to put on if you want a good nights' rest - disturbingly deep, and black, starless and bible black.

International Garbageman: In some way these guys reminded me of GONG... and that´s positive ! :) [The Secret Bliss]
I really love this attitude of mixing "strange" sounds with some portion of humour...

Metus Mortuus: Don't really know why I liked this song, but it does have a creepy feeling using non-traditional elements. Rather refreshing actually. [Fluids for Dark Pleasures]

Aquarius Records: Besides having the greatest band name ever, BL&D whip up a malfunctioning maelstrom of stuttering, fuzzed out synth and hiccupping bursts of skull pounding glitchery. Sputtering clicks and oscillating low end rumbles are draped over chest rattling modulated pulses, creating some of the fiercest, coolest experimental electronica we've heard in a while. Like music for that video game the devil forces you to play in hell, for eternity. Awesome.

Halaka: as if there were a disturbed children amplified through a fan at the end of a dark hallway in a parking garage. sit with your back in the corner of the room so you can see everything while listening with headphones. [Fluids for Dark Pleasures]

Serial Killer Sound Waves: as if hordes were watching, eyes aimed and sparkling, burning holes into the backs and the skin of the "lesser"s. they'll never learn. [Stomping the Starstruck Hordes]

Svartsinn: An artist with a lot of different music to offer. A lot on the odd side and sick side I guess...still he has something for my lists too...this one is on the noise-light side. [One Mile Below]

Le Ran: hey dude, i realy dig your stuff. cool SouNdZ !

Modern Dance: The EP, again, isn’t just a great place to start for BLD, but an essential add-on for any other BLD album you might have. Oesophagus kicks off the ep, followed by Tinklebox, Invocation Of My Demon Budgie and Coagulant Of Hades. Any more explanations of their technique, style or content is not needed here. Just fecking check out their website for details on how to get the stuff, where to get free samples, more about the label, some good links and even some of their own descriptions about their brand of music.

Serial Killer Sound Waves: ...starts like we're already in the act, spinning images of victimly-like body-tosses, knee-landings on crushed lawn... [Invocation of my Demon Budgie]

Aquarius Records: Record number two from the brilliantly named BL+D. This is a little more droney and hypnotic than the first Berkowitz record, but equally as fucked. Spazzy organ solos degrade into super distorted, hypnotic pulsing, slowly evolving like a Charlemagne Palestine piece, albeit with a full battery of broken down machinery, malfunctioning effects, and distorted alien transmissions. Noisey but still musical, BL+D are like a thinking man's VV/M.

The Dark Breakfast station: A fine melody for a post apocalyptic landscape. [Invocation of my Demon Budgie]

Oliver Lodge: By the way, Contraception of the Gods by BLD has got to be one of the best drone/experimental albums I have EVER heard in my life! Hail FFlint!

Byte Me : Loggerheads is warped, twisted, and obviously the product of a very disturbed mind. I like it!!!! Great Work.

The Brainwashed Brain: Not to be confused with the similarly moniquered old prog group, Berkowitz, Lake & Dahmer are certainly a bit noisier, and probably don't stop at sticking knives in keyboards. Lord Pendro and Mr Oleum of Fflint Central have been afflicted by channeled rumblings from these disembodied ectoplasmic entities for some time, and the only way they know how to exorcise the Satanic power of the drones and loops that take hold of their recording sessions when this trio of restless spirits holds sway is to bung out a CD-R packed full of seventy minutes of what really went on there at the haunted red house from another dimension. Of course Lord Pendro has been known to become restless when imbibing vast quantites of spirits of a different kind, but that is another story. The door to the frightening red and black world of BLD opens on a not particularly merry-go-round eight note chime whilst the nasty ones gurgle and gargle for a bit. Next all hell breaks out with a bone shaking drone monster on the loose in the form of 'Tones in Red', and bubbling rhythmic turmoil and rubble strewing simple cement mixer loops keep revolving in nightmarish ecstasy. In the haunted red house live the likes of the bawling baby headed Foetor with his abominable shuntings and the creepy big nosed Norbert H. Conduit who is damned for all time for trying to knock some sense into the Celestial Hives of Honshu... Either that or these guys have been listening to way too much Non, Coil, Throbbing Gristle and Muslimgauze whilst reading back issues of Fortean Times. - Graeme Rowland

Phrygia: Because Mandible Chatter spoke in revelations. [Cis-Trans]

Indieville: Berkowitz Lake & Dahmer is one of UK label Fflint Central's signature acts. They purvey their own brand of dark, evil electronica - and this record, the creepily titled Contraception of the Gods, is no exception.
On this release, BLD is working with lots of ambience and drone; as such, this is far more experimental than most electronica, and will require a listener who's willing to appreciate it. In these eighteen tracks, you do have occasional rhythms, but Contraception is more focused on noisy ambiances and gushing, flowing electronic patterns. It truly comes to life in the dark - if you really want to enjoy yourself, find a pitch black room, lie back, and turn this on. Within fifteen minutes you'll be on a different planet.

This disc's tracks work in diverse ways. "Knock Some Sense," for example, is a throbbing, violent explosion of robotic noise; it is almost frightening in its ferocity. "Truncheon Profile Pt. 1," on the other hand, relies on a repeated melodic loop - it sounds like a cross between a Human League synth pattern and an eighties haunted house film score. This cinematic quality is shared by most of these compositions, many of which could easily accompany a dark, homemade horror film of some sort.

Contraception of the Gods is an enjoyable - though horrific - experimental electronic record. Its unusual compositional structure will garner it a limited audience, but those fortunate enough to appreciate BLD will have this stuck in their stereo for months.

88%

Matt Shimmer

Queasy Listening: Excellent industrial exotica - really impressed by the range of experiments. "Truncheon Profile" is a pretty convincing soundtrack to one of Dahmers lobotomy experiments, with that muffled struggling retard in the background, over tubular bells type tinkling. As I say, great range of ideas - "An Officer And A Laxative" is excellent and unexpected - sounds like Mark King imprisoned in Boyd Rice's Noise Manipulation Unit for Slap Bass Crimes Against Humanity. Also really intrigued by the Blair Witch House type imagery on the cover - went to bed after listening to Contraception thinking about it's meaning and had a nightmare in this wood where Whitehouse were performing a cover version of "The Teddy Bears Picnic", William Bennett dressed in a pink teddy bear costume then invited me to his cottage where he kept automaton slaves in a big tomb... Was this the desired intention? - Jack Babylon

Modern Dance: Currently my bestest batch of musicians on the label. The thing that first attracted me to BLD was their consideration for the average experimentalist. Let me explain.... For some people, music like that found on FfC can be very challenging. Bit like Mr. Reeves had when he was faced with the ‘true’ reality in Matrix. This kind of stuff can rip out your sanity, manipulate it, change its density and atomic structure, and then throw it back in. People can be truly scared by this stuff, so when you’re presented with nice, individual portions (not family size), so before the fear and anxiety takes hold, it’s over. You get chance to breathe. This new album is no exception, and is gathering plus points from a variety of sources far and wide. So, it’s not just MD that is rather partial to BLD. To be fair, there’s just too many plus points on this new release, and the 18 tracks are all pretty superb. Even the weakest is beyond satisfaction. Truncheon Profile Part 1 kicks off the album, and there’s no let up as we travail through the purple and festering landscape of Loggerheads, Faberge Omelette, Tones In Red, An Officer And A Laxative, Concealed Beneath The Foundry and The Bile Song. Highly inventive and as refreshing as abseiling naked down a mile long ice cube. Stunning.

WFMU: (Brian Turner) Some really great soundscapes and a general screwed-up air

Aquarius Records: Yet another slab of crunching, crushing electronica from our friends at Fflint, brought to us (of course) by the so far infallible Berkowitz, Lake and Dahmer. This time it's all about the drone, and no one here at AQ can argue with that. While some of the stuttering skitter and jagged glitch remain, they are surrounded by and occasionally overtaken by washes of speaker melting hum and foundation rattling rumble. Fucking amazing.

Gothic.net: Reviewed by Seth Lindberg. There's not a lot to say about this particular CD. Despite the, er, shocking nature of the band's title, it's all fairly inoffensive drone music. No evil lyrics, not even any backmasking that I know of. I must admit. Drone rarely gets to me. It's good background music, but is rather forgettable. I'll make the sole exception of Coil's later stuff, which can be actually quite moving. This never gets to Coil territory, but has some very inspired stuff if you take the effort to give a listen. Highly experimental electronic stuff, it has a tendency to to annoy at the same time. Worse, some songs like, "Knock Some Sense", start off incredibly grating, and just when you're ready to throttle it, it morphs into the genius/inspired stuff. So what can I say? I dig it, or the theory of it, but I don't know what to say, except this: if you're feeling adventurous, go ahead and get this one. You might just die. You might think it sucks. You might just die and have your significant other tell you to take that damned thing off the CD player. It's all you.

AgentA: drone of illumination [The Celestial Hives of Honshu]

Hoth(e): ...these guys are incredible, a must hear...

Nathan Profitt: Hey, nice work on your track "Locate and cement"! NICE! I like the vibe, nice sound selections as well! TIGHT!! It's rare to find music worth listening to on mp3.com! Have you been producing long? (Got any mastering tips?)

Aquarius Records: Berkowitz, Lake & Dahmer have easily become our new favorite electronica renegades (having easily overtaken V/Vm, what with being more musical and less annoying (just barely) and not so concerned with inane 'concepts'). The 'Missionary District' cd is their newest offering and is only available though Aquarius. But be warned, it's not a normal cd, it's a rectangular credit card sized mp3 cd-r(om) with the new record, and a ton of other Fflint propaganda and goodies on it, and is only playable on your computer!!! That said, this is their best yet, weird and grating and beautiful and baffling. Since I don't have the technical know how to make these mp3s into real audio samples, i'll just describe each song for you in a sentence:
1. an indian soundtrack being overtaken by a bleeping hyper distorted techno marching band.
2. grinding scraping pulsing drone, like a small village being over run by snakes made out of bowed cymbals and broken samplers.
3. hissing ambience created by a choir of traecheotomy patients w/intercepted short wave transmissions interrupted by gunfire, only the bullets are Masonna cassettes.
4. skittery but smooth. like someone drugged Boards of Canada and then pushed them down the stairs, while outside BL+D tried desperately to start the getaway car.
5. shortwave, high pitch skree like a Skullflower / Sun City Girls pool party.
6. like laying prone in a pool of Rephlex 12"s while hundreds of 'electronica artists' piss on you from above.
7. ultra harsh noise over a strange man humming into a broken telephone, while Glen Branca and his orchestra try desperately to compete in the background.
8. unwrapping cellophane candies in a hyperbolic chamber, while little girls in tap shoes run laps around the room.
9. pipe fight and synthesiser fight double tag team. broadcast through a toy megaphone set on 'monster'.
So definitely, if you've bought anything or everything on Fflint, then this is obviously essential, and if you haven't yet, what the hell's wrong with you?! This is as good a place to start as any. Fucking great!

The Crong Sap-hammer: Decide to understand and you will fall apart. Just flow in and remember that we are nothing but fibrous dreams defribillating again and against our memories of shame. [Cyan Krilp Vipers]

Modern Dance: Berkowitz Lake And Dahmer are at it again with Missionary District. This kind of mini album is only available from Aquarius Records and for details of what it is and what it costs, etc, check out Fflint's website. If I'm not mistaken there are plans to release it generally, but we shall see. They might add more, or remix a couple or three, who can really tell with BLD? There's nine tracks all told, which kicks off with Cyan Krilp Vipers - this has to be the unofficial OST for Terminator III. Apart from the Arab-styled chanting that drifts in half way through, it's technology gone awol. Graphic Tranquilliser is Disney on acid, can't say no more than that! Skinned Teeth is drenched in mechanical sounds the results of which give the impression that they could hurt. Never have I heard a sound that sounds like it's been used to inflict serious bodily pain (and I don't mean it's painful on the ears!). Kelpies, as anyone should know, are watery spirit type things (no, not Bells whiskey), and with the constant running water (you must have a piss afore you listen to this one), and the whale-type sirens in the background, it really does conjure up some moist images. Fracas At The Hotel Gargoyle is brilliant. As the orchestra play in the lobby, this 'thing' charges around the vacant rooms smelling things and touching stuff, and it has the face of Peter Glaze. It makes The Shining seem like Play School. Petrolhead comes across as simply one massive rush - an intense boil of sound that rapes, then leaves with a fag in its mouth. Once finished, press pause as you'll need a few minutes for your metabolism to straighten out. Vulture Squadron is a small piece that basically has a prop job diving through several dimensions, a Ballardian nightmare. Unseen, under a large lid, hell bubbles as Joyce Grenfell puts the kettle on whilst listening to a lecture on remote viewing. Rubber Glove Stirfry (Coda) finishes off this unsettling vista of otherworldliness. Guess what? It really does sound like a rubber glove is being stir fried - mmm, smell that rubber, baby.

JD: Fifth release from the cock of the roost and most curlish! Plus there's a remix of Rubber Glove StirFry for those of you who have the Missionary District cd. Fflint produces the most original experimental/electronic music goddamit-get the entire collection.

Aquarius Records: The mighty Fflint Central again prove that they have cornered the market on subversive (and intelligent) electronic fuckery in the UK. Why listen to the retarded antics of V/VM or the pedestrian downtempo dreck of Boards Of Canada when you can get the best elements of both AND THEN SOME from almost any band in the Fflint stable?! The return of the 'killer' electronica threesome (actually a twosome, like the 3 piece Thompson Twins) and their imbalanced, dangerous and baffling electronica. Balancing noise and melody, BL+D craft noisy epics, with gurgling, sputtering synths, purloined Middle Eastern melodies. distant rumbles, screeching high end crunch, chopped and shuffled 20th century classical, ultra-abstract musiqe concrete, bursts of face melting noise, running water framing delicate far-away melodies, totally nonsensical, epileptic drum programming, and more strange and beautiful sounds than any two guys should be able to produce. Gorgeous, challenging, intense and completely original. If there was any justice in this world, Berkowitz, Lake + Dahmer would be the jewel in someone's electronic crown (Warp, Skam, Lo, etc...) They'll just have to settle for Andee's tUMULt label, who will be releasing their first non cd-r release towards the end of the year. In the meantime, don't miss out. You know you want to be able to say 'Oh yeah, I was into BL+D way back in February!' SO RECOMMENDED.

The Earth as a Planet: Reminding me again of the pure intellectual superiority of the English... I am clearly living in the wrong country [Occident Bowl]

Indieville: Without Chemicals He Points is the 2002 offering from electronic soundscape artists Berkowitz Lake & Dahmer. Much like their other work, this disc boasts plenty of glitchy, experimental pseudo-ambiance, designed specifically to instill horror and awe in their listenership. BLD uses plenty of creepy samples and dark effects to create an atmosphere distinctly its own - often the music is so avant-garde, you're surprised how accessible it is.
This album's most successful moments are those that absolutely entrench you in the music. Sparser moments like "Four Minute Symphony" are nice, but somewhat unaffecting; the real success comes from powerfully full compositions like the creepy vocal modification of "Cyan Krilp Vipers" and the industrial ambiance of "Graphic Tranquiliser." Even the noisier tracks like "Blighted Sump" and "Petrolhead" fit in well with Without Chemicals' more ambient moments.

Without Chemicals He Points is another strong album for Fflint Central, who continue to make a name for themselves on the experimental electronic circuit. Berkowitz Lake & Dahmer, as always, is a must for those music lovers with an affinity for being creeped out - and thoroughly satisfied.

Fun Fact: The title of this album appears to be a reference to a secret clue from an old episode of Twin Peaks. Check it out here.

87%

Matt Shimmer

WFMU: (Andrew Listfield) Like the middle east on acid, but in the BLD way, intense and electronic. [Cyan Krilp Vipers]

The Brainwashed Brain: Berkowitz, Lake and Dahmer originally created the bulk of their latest manic loop noise excursion as a credit card shaped CD full of MP3 versions of some mostly fairly short tracks. This was sold only via Aquarius Records of San Francisco who have been longtime admirers of the Fflinty Ones. Now they've plonked the bulk of those MP3's onto a regular music CD-R with six mostly longer and dronier extra tracks, adorned in a sleeve featuring a grinning Bob of the Church of the Subgenius lookalike that could be a homage to the fifties spoof collages of Winston Smith's Alternative Tentacles sleeves. It's another dose of unsettled noisescaping that would sit well on the soundtracks for old horror or sci-fi films. 'Cyan Krilp Vipers' entangle and bite a poor Japanese singer causing her voice to sink much lower. 'Throat Corrosives' has near silent spells cut dead by sudden bursts of synth gloom and distant mumbling choking voices. 'Graphic Tranquiliser' drags a rapidfire loop through squalling feedback before submerging it in a fragment of a jazz trumpet radio broadcast. 'Blighted Sump' is as big a nasty oily engine noise drone as the title suggests. 'Kelpies' could be a short recording of the funny little creatures that sing a high pitched drowning song when the Fflint Central toilet cistern fills up. 'Fracas at the Hotel Gargoyle' loops fading photos of fairground organ as machinery rattles malevolently. 'Occident Bowl' shrouds a rambling guitar solo in gut rumbling gurgles. The clattering 'Skinned Teeth' sounded great coming over the radio on the John Peel show one evening and caught me by surprise as I didn't recognise it and at first expecting it to morph into a Position Chrome type drum'n'bass track. Later longer tracks 'Cirrhosis of the Cormorant', 'Tones Unread' and 'Rubber Glove Stirfry' are mostly based around thick ectoplasmic synthtone drones and suggest that the Fflinty Ones' propensity for ridiculous song titles is not about to run dry. 'Four Minute Symphony' spins the radio dial again, with an ethereal orchestra submerged in random synth squeakings. The final track 'Unseen' bubbles swampily as a mystery voice proclaims that, "People are afraid of what they don't know." - Graeme Rowland

Halaka: something is clearly amiss. [Skinned Teeth]

Modern Dance: Newish album from BLD. I say newish because nine of the tracks are from the album Missionary District, a pretty neat little package made for Aquairius Records (USA) only! So, maybe now's the time to get this version. The main reason is the addition of an extra five tracks, giving a healthier 49 minutes running time for the cd. The Missionary District album was reviewed a while back, so just on the strength of that, you should be ordering it if you ain't got the Aquarius one!. The additional tracks are: Throat Corrosives, Blighted Sump, Occident Bowl, Whip That Sycophant, Tones Unread (a remix of Tones In Red, and a far better one if you ask me!), Cirrhosis Of The Cormorant, and Four Minute Symphony. Some of these new tracks are genuine remixes of previous tracks (and I defy anyone to tell which they were!). It's just the pure exalting and blinding energy on tracks like Cormorrant, the emerging alien life forms on Four MInute Symphony, and deep underground rumblings on Unseen that make this yet another welcome addition to the ever impressive, ever scary, ever challenging catalogue of Fflint Central. I have to be honest and admit that Fflint, with all their releases (so far, another on the way as I write this) have totally exhausted all my descriptive powers, and I really feel that it's time that you lot got your act together and started to find out what, where, how and why. For I have seen the future in Fflint Central, and beheld its majesty. (DW)

Aquarius Records: It's been almost three years now since our little musical community has been terorrized by everyones favorite serial dronesters Berkowitz Lake and Dahmer. And once again, the guys at Fflint Central, our favorite UK electronic / experimental / noise / drone label, have come up with an absolute killer (um...pun intended actually). BLD just so happens to be the duo of Barry and Tim, the men behind the Fflint curtain, and so it makes sense that BLD are probably the most musically powerful and fully realized Fflint entity. Tar Weasels is as good as anything BLD has done, the difference this time around, being that there seems to be much more of a focus on melody and texture, melodic swells, dreamy drones, gone are much of the abrasive noise and squelchy rhythms of past releases, with Weasels being a far more tranquil affair. There are rhythms, but they tend to be minimal little seismic events, or squeaking alien weirdness, present, but only in the background, while in the foreground, the world is a slow motion snapshot of an alien landscape, all shifting swirls and slow building swells, ambient, but an active ambience, static sheets of drone demarcated by little sonic imperfections, somehow wrangled into a marked musical path, guiding us through a dense and darkened world of crumbling drones, and billowing waves of rumble and rattle, a murky otherworldly vacuum, where each sound is frozen in time, and then hurled into a black hole, but instead of being swallowed up and lost, each sound is stretched into infinity, every sound pulled apart and stacked into a single, slowly slithering, gorgeously thick shimmer, occasionally cracking, sonic shards dropping onto the surface below, creating more barely-there, off kilter rhythms for BLD to bury under their warm thick blankets of bowed drones and reverberating fuzz. What else can we say at this point? If you're already a member in good standing in the church of Fflint, then you already know you need this latest Fflinty sacrament, and if you have yet to be converted, well, you can only resist for so long...

MilleFeuille.fr: Clin d'oeil en forme de pied de nez au fameux groupe prog Emerson Lake and Palmer, le faux trio mais véritable duo Berkowitz Lake and Dahmer (David Berkowitz, Leonard Lake et Jeffrey Dahmer étant de fameux tueurs en série) cache en fait le projet des deux fantastiquement cinglés leaders du label électro Fflint Central, à savoir Tim Jones (aka Pendro) et Barry Williams (aka Oleum ou Cavendish Sanguine).

Sur Tar Weasels, sixième et dernier opus datant de 2005, tous les ingrédients qui font qu'un album de chez Fflint est immédiatement reconnaissable sont présents et savamment dosés. La pochette intrigue et inquiète parce que l'on se demande bien ce que cela peut être, les titres des morceaux amusent et laissent présager un humour des plus noirs. Et en effet, la musique offerte sur cet album fait l’effet d’un bain de minuit dans un lac que l'on dit habité par on ne sait quelle saloperie tentaculaire, le tout un soir sans lune : apaisant au début, il invite rapidement à l’hystérie.

Mais si les ambiances de Berkowitz Lake and Dahmer inquiètent ou donnent la chair de poule, il serait fatal de voir ici un groupe de dark-ambient crapoteux. Tar Weasels ne se soucie pas de créer son monde à grands renforts d'effets pompeux, de drones menaçants et de coups de théâtre, mais instaure ses visions troublantes et troublées en douceur.

Débutant par l'aérien Sky Burial, l'album prend tranquillement le chemin de la chute vers l'antre de la folie. Aux claudiquants Cinnabar Grove et Haunted Automatons que l'on imaginerait bien joués par les machines déréglées de Pierre Bastien, suit l'enivrant Cold Slad, dernière étape avant la découverte du coeur monstrueux mais fascinant de la chose. A partir de No second Thoughts, un retour en arrière n'est plus envisageable et Berkowitz Lake and Dahmer ne laissent pas échapper une seule occasion de nous en faire voir de toutes les couleurs, en prenant le contrôle du cerveau de leurs auditeurs pour finalement les laisser passablement abasourdis (mention particulière au fabuleux Fission).

En proposant un de ces (devenus) rares albums sincèrement et radicalement opposés au principe "un esprit sain dans un corps sain", Berkowitz Lake and Dahmer offrent avec Tar Weasels l'un des meilleures remèdes à la normalité ambiante. Excellent. [Emmanuel B.]

Modern Dance: The mourning chorus and swirling sounds of Sky Burial greet the listener in a melodic fashion that is surprisingly upbeat and yet there is something that makes the opening track less than happy. Without a natural rhythm and containing at times mildly strident sounds makes this track intriguing. At first it appeared to be almost background music, but it drags you in and prevents your attention from wandering. The ambiences continue with Cinnabar Grove in which a strong melody grows out of all the sounds that is very distinctive and alluring. More experimental in nature by using a number of differing sounds - some recognisable as being from classical instruments are assembled to form Haunted Automations in a sort of free form style that lacks all the normal requirements of what is standard music. For some it’s the nightmare music in films. The slow bass guitar riff on what sounds almost like a continuous violin string note is to be heard on Cold Slad and develops with the sound of backward notes to form a rhythm. More percussive and hence much more threatening is the overall feel of the short track entitled No Second Thoughts. Stoker's Ghoul could be what is heard in a steam railway preservation scene at the start. The pressure builds and the steam is finally let off ending with the engine in full blast. As the engine moves away the listener is left with the looped sound of a shovel being used and the ringing of a bell, which incidentally sound marvellous on the old hi-fi. Fission uses a sequenced rhythm and then the bass notes are looped with modification, which draws attention, and you end up carefully listening for the subtle changes. Whilst this is happening, the other ambiences have entered the soundstage almost without you realising it. A distorted voice introduces electronic mayhem at the start of the title track, but slowly the individual components start to build into a more cohesive piece. Whilst it's not designed for radio 2, and what it lacks in melody is compensated by the dramatic dynamics of this piece. Not destined for mainstream under any circumstances, this album will excite those who wish to venture away from the formulated pop scene. (Brooky)