ALBUM REVIEW: Mechanimal - Secret Science

It's generally pretty easy to discover specialized record labels that consistently release good music yet restrict themselves to a specific genre, likewise those that put out a wide variety of material while being lax when it comes to quality control, but it's rarer to encounter one that's both eclectic and reliable, which makes independent Greek imprint Inner Ear Records well worth checking out. Covering everything from folk to electronic, the music they issue is usually as intriguing as it is adventurous, and Secret Science, the new sophomore album from Athens-based trio Mechanimal, is a nice addition to that expansive catalog.

Formed by Greek musician/journalist Giannis Papaioannou and American photographer Freddie Faulkenberry, the band members themselves describe their music as "drone 'n' roll", although that's an incomplete (and oddly inaccurate) description of the sounds found on Secret Science, the follow up to their 2012 self-titled debut. In fact, the album bounces between a number of styles, be it the upbeat synthpop of "We Come Alive", the subtly dubby, trip hop feel of "Cut Communications" or the dark, throbbing techno found on the record's muscular closer "Down in the Basement", all of which come with a tasteful amount of Joy Division worship.

Those influences, as well as Secret Science's forays into industrial and more conventional alt-rock, aren't exactly wildly divergent, but the deftness with which the appropriately, hilariously named Mechanimal navigates the transitions from one to the other makes even the occasional misstep, such as the title track, where the clenched-jaw vocals and some overwrought lyrics conspire to push the song into goth cliché, seem less pronounced, even on repeat listens. Altogether it's a cohesive set of songs, but offers its share of surprises, making it more than deserving of a few spins and yet another solid release from Inner Ear Records.

ALBUM REVIEW: Film - Eclipse

While it still retains an air of futurism after all these years, there's nevertheless a strong element of nostalgia in electronic music, be it in the form of vintage synthesizer fetishism or retro styles that seem to get resuscitated every so often. There's nothing wrong with that really, there's room enough for throwbacks in such an eclectic genre, but it only has merit when it goes beyond mimicry and actually recontextualizes its inspirations for a new era, something Eclipse, the 80s-inflected new album from Greek trio Film, manages rather well.

Recalling the cinematic side of Giorgio Moroder or Vangelis, Eclipse, out now on the reliable Inner Ear Records (by way of Rough Trade Distribution), compresses those dramatic arpeggios and sweeping synth textures into concise doses of dark, bouncy pop. The Athens-based group, who've been largely inactive since 2009's well-received Persona, makes no bones about their fondness for the days of analog and generally approaches the whole project with a sense of fun, which adds extra charm to standout cuts such as the urgent "Produkt" or the dreamily wistful title track.

Film puts a sufficiently modern spin on things though, preventing Eclipse from feeling like little more than a collection of winking reference points, but, as enjoyable as the release is, the main flaw is that its soundtrack-esque aesthetic makes it a bit forgettable. Yet, while it doesn't leave much of an impact, Eclipse is a pleasant listen right on through to the delicate closer "Waltz (Telescope)" and is more than deserving of a few spins, even if it's not the most forward-thinking or original example of electronic music out there.