Planetdamage – Relapse Protocol

Industrial electronics and beyond that goes through a wide range of styles from EBM through breaks to psytrance. It is like an amazing soundtrack to a cyberpunk videogame that I’d love to play. I’m sure Planetdamage would like to imagine people walking through neon-infused city nights while listening to it, but it’s a perfect companion for pushing work, too. The only downside is the vocal, which on the full length gets somewhat tedious because of it’s monotone sound, but since the Bandcamp release has the instrumental version included that’s what I have on replay.

Ela Minus – Acts of Rebellion

This is the case when I find it hard to believe that this is a debut album. If this was the new Fever Ray record I’d be 100% satisfied and rank it among the best of the year. And this one’s a first long player by someone? Come. On. One part mid-tempo club beats with neon synths, other part slow moody songs, and a cold wave atmosphere maintained. Not the sorrow kind of cold wave though, but this introvert little wondering headspace—think Röyksopp or Ladytron.

Ital Tek – Outland

Bass heavy, melodic, dreamy and moody, slow paced but not fully ambient electronics. It explores space, goes under the ocean, travels in the belly of the Earth—all the places where dark is the domain but textures can be observed by some shimmering traces of light.

Robert Hood – Mirror Man

Minimal techno, coming from one of the godfathers. This shines through with purity and a good sense for essence, but also some retro sounds here and there. Although, it’s not the most important record of the year, not even in techno, but it’s a good listen.

Ulver – Flowers of Evil

This is not an overall great pop rock record. I had to check a few times while listening that I’m still listening to Ulver—this style and sound feels alien for me coming from them. That said, Machine Guns and Peacock Feathers is a flawless pop rock song.