“It’s funny, having worked so hard to make a living out of music I found once I’d got there that I’d broken myself in the process. I needed a break to do some, uh, emotional housekeeping.”
“The newer material is very personal in nature as it directly relates to the experiences and emotions I had been going through and feeling. Those experiences set the direction for the album title and cover art.”
CEASE2XIST 'Zero Future' ARMALYTE INDUSTRIES
DAVID BOWIE 'No Plan' COLUMBIA / SONY es' SELF-RELEASED
Check out our 30 favourite albums of 2016
Friday, 30 December 2016
Friday, 23 December 2016
'It Ain't Dead Yet – A Tribute To Skinny Puppy'
There is no question that Skinny Puppy have been one of the most influential acts to have emerged out of the industrial scene over the last thirty-odd years. Bands from Nine Inch Nails through to the likes of Dead When I Found Her all have a stylistic nod to Skinny Puppy within their sonic formula. It's with this in mind that Tribulations has compiled a 34-track free compilation of Skinny Puppy covers from a number of diverse modern artists.
At 34 tracks long it would be a bit much to break-down every single one but there really is something for everyone here. The gamut runs from synthpop right through to experimental noise. A few of the particular highlights include contributions from the likes of Leaether Strip, IIOIOIOII, Dead When I Found Her, Acid Rodent, Flesh Eating Foundation, Ghostlike, Kiforth, Necrotek, and Volt 9000. Each of whom add their own unique style to the originals.
Some tracks stick pretty close to the source material, while others go off in vastly different directions. It's great to hear just what artists will do when given free reign with someone else's material, and this album is a great example of that process. But for hardened Skinny Puppy fans you can be assured every contribution shows the band's work respect and love.
The compilation has been mastered well to assure there are no glaring differences in sound quality between tracks and even when moving between something more ear-friendly to another harsher contribution the track list progresses smoothly.
This is a really nice compilation, and for a free release really shows a lot of dedication from everyone involved. Hopefully this won't just be a one-time deal and we can expect more from Tribulations in the future, as this as certainly set a high benchmark for a good tribute album.
Thursday, 22 December 2016
LIVING DEAD GIRL
London based dark pop duo Living Dead Girl release their second single/EP in the form of 'Autumn'. Consisting of three new tracks and two remixes the release continues to meld their dark and atmospheric approach to synthpop with elements of trip hop, and even a little bit of witch house. It's quite easy to hear the likes of Grimes, Ladytron and Portishead in their sombre yet ethereal mix of haunting vocals and subtle pop hooks, but Living Dead Girl are offering something a little more.
'Autumn' has an almost neoclassical feel to its construction with occasional outbreaks of modern pop spells, it's steady pace, mixture of droning and string synths and even harpsichord sounds give it a wonderfully baroque textures. 'Simulation' is a more contemporary blend of trip hop and synthpop with Jessica English's sounding soft but ever so slightly unhinged she matches the rhythm of the track. The final original track, 'The False Architect', opens with a classics muffled trip hop beat before bringing a minimal melancholy piano melody which frames English's vocals perfectly which give the track a strangely nostalgic psychedelic atmosphere.
The remixes of 'Simulation' courtesy of Neon Valley and Obsidian FX make good use of the source material with Neon Valley upping the club potential with some hard dance beats, while Obsidian FX work some glitchy insanity into the track to take it in entirely the opposite direction.
The production is very good throughout. The songs have been crafted with great care and the end result is some fresh and modern sounding electronic pop that blends a lot of elements but sometimes so minimalistic that you almost miss them.
'Autumn' is a very strong release that shows of a very well-rounded writing style and exceedingly skilful performances. Simply dismissing Living Dead Girl as an [insert genre] pop band is a little too easy. There is a great subtlety to how they build tracks up into more complex compositions which draws you in deeper when you listen to it. It would be great to hear what they do when they come to release a full-length album.
Wednesday, 21 December 2016
TWO GODS RECORDS
Hailing from Hungary Planet://Damage, AKA Mariusz Bari, releases his second EP in conjunction with Black Nail Cabaret vocalist/composer Emke, 'Angst'. Blending old school electronics and a mix of industrial, synthpop and ebm elements Planet://Damage presents a slightly sombre, but ultimately uplifting electronic journey on this EP/single.
'Angst' is a blend of classic 80s and early 90s industrial and ebm with some brilliant soaring synthopop vocals for a track that is compellingly dance-friendly and classically sing-a-long in equal amounts. The remix courtesy from Haujobb amps up the club-friendly elements a little more for a great ebm dance mix. While the final track sees Planet://Damage thoroughly rework the song into a sixteen minute long haunting live ambient performance that completely flips the track on its head.
The production is very old school in atmosphere as well. As such releases such as this will by default be compared to the classic artists of the late 80s and early 90s. But like a good musician, the resemblance is only in the pallet of sounds and styles. The end result is still fresh and unique.
'Angst' is a great, if quite short, release that skilfully worms its way into your brain with its synth bass lines, steady dance beats, and compelling vocals. It is a solidly composed and executed EP that, through using a single track as its basis, shows how versatile it can be.
Tuesday, 20 December 2016
2016 was a special year.
Was, still is.
In my October editorial, I mentioned the remarkable (as in quite noticeable) work of Death this year.
It's been a year about Letting Go, and a year where the line began to blur between the pop culture and the alternative culture, to some extent. Kids everywhere embraced Goth apparel full-throttle, started a new moody/ambient synth-pop band every week, and showed off their wild sides with posture collars, bondage-inspired harness-like bras from their neighborhood's lingerie store, and any other affordable accessories from the local sex shop.
Everyone's shadow-side is coming to the light, it seems.
Oh, and everyone's also a witch these days.
It's apparently the cool new it-thing.
Now, will these tokens of the Darkness Within remain in these kids' Instagram feeds in the year to come?
Maybe not, and maybe so.
For as long as embracing the darkness comes to them as a means to better understand themselves, and leads them to evolution, these kids'll be fine.
In the end, what matters is that the Darkness Within is not shut out or repressed, like it once was. What matters is that we can believe in a society evolving into a better openness and understanding of what makes us humans whole: from our darker to our lighter aspects.
And so, as the alternative culture and the pop culture seemingly begin to find balance alongside another, we can give 2016 its last hurrah and choose to be the radiating light of the party -no matter how Goth we are.
As Yule itself is the celebration of the return of the light, and the Sun, and its warmth, and of general rebirth vibes, I came up with a few tips and tricks on how to radiate light this Yule. Get inspired by these traditions almost as old as time, and give them your own, refreshing, XXIst-century twist:
- Celebrate the gradual return of the Sun by lighting as many candles as you see fit every night. This'll automatically bring light and warmth to your room, apartment or home.
- Welcome apple cider vinegar, ginger, honey and turmeric as daily tokens of your diet, along with as many oranges and grapefruit you can take in a day, to guarantee a clinic-free winter.
- Sing aloud and play music -whether caroling with your brothers and sisters, humming along to your favorite album in your car on your way to your next family reunion, or jamming with your friends during your last band practice of the year- the way the music will resonate in and out of you is sure to warm you up and help you re-energize.
- Find some time to have guests over, even if it's just for tea-time, and have as hearty of a meal, or an abundance of snacks, at the ready for them. Better yet, organize a pot-luck and have everyone share a specialty of theirs. Indeed, most, if not all traditions of Yule from cultures past involve indulgence in the most elaborate, decadent meals of the year, and this would be regarded as a way of projecting the desired plenitude of the next year's harvest.
- Try at least one traditional recipe. Yule tastes of very specific spices, namely cinnamon, clove, and star anise. Mulled wine, for example, is very easy to make, and a guaranteed success when served in a wine glass decked up for the holidays. A simple ribbon will do, and your guests will thank you for the extra festive touch, and its ensuing TLC.
For without light and warmth radiating from you to you, how can you dream to shine upon anyone else?
Many people have been going on about how 2016 has been a bad year -a bit of a sad perspective, really. As I mentioned before, 2016 has been a year of Letting Go, that's for sure, but this can only make way for the New. And for some, letting go hasn't just been about people or things, it's also perspectives, ideas, beliefs or concepts that we let go of. Ever heard of a rebirth?
I say light a candle, treat yourself to a cuppa, and take a moment to think of all the good stuff 2016 has brought you. That oughta make you smile.
Watch yourself enter 2017 with eyes shining bright, and plan out your year according to what you want to achieve for yourself in this beautiful year to come.
Remember Life will make sure nothing goes according to plan, and so as long as you commit to the goals you're setting out for yourself, they will achieve themselves regardless.
Love and light to you, and happy Solstice.
Friday, 16 December 2016
Ministry have been a cornerstone of the industrial scene for over 30 years now. The band led by Al Jourgensen has seen many changes in musical direction as well as personnel, but has always pushed the boundaries of what man and machine can do. These days Jourgensen can be quite dismissive, and often disparaging of his earlier work while still finding the sound he wanted and being pulled in directions he may not have wanted to go. But that does not invalidate that early work and 'Trax! Rarities' released through Cleopatra Records celebrates that period through a collection of live tracks, demos, unreleased mixes and otherwise rare side-project cuts across four sides of clear vinyl.
Side A consists of early live tracks recorded in Detroit back in 1982 with the band sounding comfortable and commanding as they power through their take on new wave and synthpop in a surprisingly good quality capture of the band at their most melodic.
Side B continues the early innocence with five unreleased demos meant for the stylistic successor to 'With Sympathy' but eventually dropped for the darker industrial style explored on 'Twitch'. 'Same Old Madness' and 'Same Old Scene' particularly standout from the bunch.
Side C starts with a couple of harder 'Twitch' style tracks in the forms of 'I See Red' and 'Self-Annoyed' Both of which illustrate the transitional sound between the dance-friendly sound of 'With Sympathy' and the much darker and harder albums to follow. Following on from those are two cuts from the most successful Ministry side-project to date Revolting Cocks with 'Fish In Cold Water' and a banned version of '(Let's Get) Physical'.
The final side of the album explores some more side-project works with offerings from PTP, Pailhead, the super rare 'Drums Along the Carbide' from Rev Co. and 1000 Homo DJs – OK it's just another remix of 'Supernaut', but a good dub remix is always a nice addition.
OK, while everything on here isn't necessarily unknown or unreleased – the 'Trax! Box' has already seen a lot of this material included – it is still a more affordable option and to be fair pulls out some real gems that may have otherwise got lost in the mix.
This is a release aimed squarely at the hardcore Ministry fans out there, but is a nice collection nonetheless and worthy of being pressed onto vinyl. While 'Trax! Rarities' may not deliver any major revelations, instead the way it is compiled makes it is a nice illustration of an artist's stylistic progression changing from a behind-the-scenes perspective.
Wednesday, 14 December 2016
Members: Manja Kaletka, Goderic Northstar
Year formed: 2016
Location: Nackenheim / Germany
"Inspired by Science Fiction in literature and films but also recent scientific discoveries and theories about the universe, the Time, the Matter and possibly extraterrestrial life, X-O-Planet picks its listeners up for a voyage through the infinite dark cosmos."
Goderic: Since his childhood Goderic has been learning to play church organ. Later on he started to teach himself guitar and bass guitar. Inspired by pioneers in the forefront of electronic music like Jean-Michel Jarre, Kraftwerk and Die Krupps he became more interested in electronic sounds. So he experimented with analog synthesizers and produced his first electronic compositions in which also influences of well-known EBM combos like Front 242 and Nitzer Ebb can be recognized.
Re-releasing demos can sometimes be the musical equivalent of putting photos from your awkward teenage years online for all to see. But every so often there is a re-release of a demo that is actually worth it. Finnish satanic black metalers Thyrane have offered up just that, their 1997 demo 'Black Harmony' re-released on Woodcut Records is a genuinely enjoyable and interesting look back at their origins.
Almost fully formed in style, direction and confidence, 'Black Harmony' is a quintessential 90s black metal album complete with demonic vocals, riffs seared by hellfire and symphonic keyboard embellishments. The likes of Satyricon, Old Man's Child, and Emperor can all be heard across the four tracks of satanic cacophony.
Diving straight into the title track the album powers forth with skull-splitting drums, haunting keyboards and ferocious riffs. It's an unrelenting attack that keeps the pace across 'Sacrifices', 'Enthroned By Antichrist', and 'Satanic Ages Overture'. Though it only spans four tracks the demo still racks up an impressive 35 minutes in length, showing that the band could, even at this early stage, aim for more epic track lengths and achieve them with ease.
Production wise this is not bad. Considering this is a mid-90s black metal demo it is incredibly well-formed and executed with great attention to detail. The keyboards may sound a little dated, and it may not be as crisp as more modern releases, but it is nonetheless a really strong effort.
This is probably a release that passed by many pre-broadband internet black metal fans, but this is an instance of a well deserved re-release. 'Black Harmony' may have been a first step from Thyrane, but it was definitely an assertive one that set the bar for their following albums.
Tuesday, 13 December 2016
Like the Men In Black, the anti-gnomenmartialindustrialneofolkmetal society known as Tonttu protects us from an otherwise unseen menace, namely Gnomes. They're everywhere and they want to overthrow humanity, but with a fiendish mixture of martial beats, industrial electronics, metal savagery, and neofolk atmospheres the trio have so far held the hordes of the Gnomic terror at bay. The latest outing from the band just in time for Christmas (peak time for elves so Gnomes can't be too far behind) sees them form alliances with Miel Noir, DJV, and Terrorrot who provide remixes of the anti-gnome anthems.
The first three tracks see remix duties handled by Tonttu themselves with 'Tonttumarssi (Gnomsignomsi)', ' Saunan Tonttu (Whittaker Goes Eurovision)', and ' Jo Muinaiset Tontut Söivät Jälkiruokaa, Perkele! (WW1-3)' preserving the crazy Lovecraftian dissonance of the originals but adding some more discernible club-friendly elements, with the third track resembling the martial madness of early Laibach.
'Kolossus, Tontut ja Korpit (Anti-Tonttu)' sees DJV stick to the lyrical focus of the original track but amps up the creepiness with the near-whimsical melody and steady, swaying beats. Miel Noir treat ' Jälkiruoka - Gnomes Drowned In Black Honey' to a rather luscious sci-fi orientated martial mix that is disturbingly addictive. Finally, Terrorot take on 'Suurin Oikeutus' with a cover version of low-fi power electronics meets death metal that is the audio equivalent of being beaten over the head with a CD player containing a Berzerker album skipping and sticking at random while someone screams in your ear through a cheap voice changer.
This is at times a pretty fun remix album, and at others it is just batshit crazy. The production is pretty slick for the most part considering the different elements and sometimes outright dissonant execution of some tracks. But it holds itself together and if you like plenty of curve-balls thrown at you it definitely warrants focused listening.
'Gnouroborus' is a fun album for those who like thinks a little more left-field. It is an album that shows off not only some great remixing skills, but also the strength of the source material. It might not give Tonttu a club-hit but as long as it keeps the Gnomes at bay this winter, that's all that matters.
Wednesday, 7 December 2016
It's that time of year again, and I'm guessing that since you're reading this you survived Krampusnacht relatively unscathed. Good for you. As for me the day job is keeping me suitably busy to have slowed my output for Intravenous Magazine down for much longer than I had anticipated. Luckily at this time of year I can console myself with mulled wine and force-feed myself lebkuchen until I burst. I APOLOGISE FOR NOTHING!
But if Christmas is not your thing, fear not loyal readers for we have our annual treat lined up and ready to be unleashed. For those of you new to Intravenous Magazine you may have noticed we like to do a little free compilation to mark our birthday, and New Years Day 2017 is no exception. We have a fantastic line-up of bands covering a range of genres, some new, some established, but all with something to offer.
As always the download will be accompanied by cover art and an A4 PDF booklet with info and links for all the bands. As always we can't do these things without the support of the bands and labels in the scene so if you find something you like, why not spend that Christmas money on a CD or two from their own site?
The first of January marks four years of Intravenous Magazine since I decided to launch it to carry on the – what I thought was fairly decent – work I had been doing for Dominion Magazine. To be honest I didn't think it would take off and would just quietly fizzle out. And fast forward to the end of 2016 and I'll be damned if I let this ship sink any time soon. With that in mind I have to acknowledge that I can't keep things going as they are and so from January onwards I will be extending some invitations out to new reviewers and columnists and inject a bit more activity into the site.
Other things to look forward to – the Intravenous top albums of 2016 will be on its way as usual next month, also I'll be inviting some respected DJs and artists to contribute special mixes to our Mixcloud account. There is life in this thing yet.
But that's it from me. A short but sweet send off to a strange year – we lost so many greats, yet from a personal standpoint it has been one of positive growth and fulfilment. I hope you'll join us in 2017.
Finally, if you haven't already got them, go get our three download compilations from our bandcamp – so much free music! What the hell are you waiting for?!
And as always make sure you have these links in your favourites:
Tuesday, 6 December 2016
London electro-rockers Stereo Juggernaut hit back with their latest EP, and first release on new label Armalyte Industries, 'Shutdown!'. Full of piss and vinegar as well as some pretty sweet tunes the band channel acts like Orgy, Dope, Combichrist, and Cubanate through their frenetic and dance-friendly sound. Part alternative rock, part hard dance the band go out of their way to tick a lot of boxes.
The EP starts as it means to go on with the riotous 'Devoid' on point as it schizophrenically shifts between hard guitar riffs and hard synth leads framing dance rhythms and punctuated by snarling punk vocals. The likes of 'Empty Eyes', 'Boats & Ladders', and 'Shutdown!' in particular carry this formula on with ease, and the EP progresses at breakneck speed as a result. The sound may be quite fresh and modern with the balance favouring catchy hooks to a degree. But there is enough attitude and rawness to the band's sound to give the band an appeal that will find approval with long-time hardened industrial rock fans.
Production-wise the band keeps the dance synths high in the mix for a big melodic injection they can push hard in the choruses. But surrounding that is a very organic and raw alternative rock core that remains forceful and really is the driving force behind the tracks. They keep the dirty, gritty edge but it doesn't simply become background noise but nicely juxtaposes with the strong melodies for a well-rounded sound.
They may still be a relatively new name, but Stereo Juggernaut have been working hard, paying their dues and honing their sound. And the result is pretty impressive. 'Shutdown!' is a slick anthemic release befitting these dark dystopian days. It has fire and it has substance. It is safe to say that this will be a band to keep an eye on.
Monday, 5 December 2016
“We might not be the biggest but I certainly think that we're the best - but then again, I am biased! It feels excellent to be as acclaimed as we are. Bear in mind I'm just a fan who happens to own a wrestling company with his mates.”
This may be a bit of a departure for Intravenous Magazine, but I think you'll agree that there is a method to our madness. Alternative culture is about embracing diversity, passion and devotion to sounds, ideas, and styles not fully (or if ever) embraced by the mainstream. And professional wrestling is one such thing that ticks all of those boxes.
It's a world that isn't far removed from the music scene with the WWE's and Metallica's of the world selling out stadiums around the world, right down to the local acts and promotions putting on shows in clubs in their local areas.
But one company that has taken the UK, and infact parts of the world by storm over the past few year's is London-based promotion Progress Wrestling. With a punk rock atmosphere and penchant for innovation, it captures the spirit of the likes of ECW, filtering through a very British DIY ethic. And the results have been a boon for wrestling fans in the UK.
We caught up with one of the promotions founders, Jim Smallman to talk about the promotions near unstoppable rise, the state of pro-wrestling today, and standing out.
Intravenous Magazine: First of all, what makes a person decide to start a pro-wrestling promotion?
IVM: Where do you begin to go about it and how hard was it to get off the ground?
IVM: You wear many hats with Progress as an announcer, promoter, and writer – Where does Progress end and real life begin for you these days?
IVM: What is the ethos behind Progress Wrestling as a promotion?
JS: We wanted to put on shows that we'd want to watch as fans, and also help develop a community of like-minded people. I'm really into punk music and love the ethos behind anything DIY and inclusive, so we've always aimed for that kind of vibe.
IVM: What were the thought processes behind having the Progress championship as a staff (now a belt), and shields for the tag titles?
IVM: Progress alumni can now be seen wrestling for companies such as WWE, ROH, TNA, as well as in Japan how has this helped, or perhaps hindered Progress?
IVM: You started at the Islington Garage, and have quickly moved to The Electric Ballroom, infiltrated the hallowed Brixton Academy, and have even been a part of Download Festival – can the rooms only keep getting bigger?.
IVM: How would you describe a typical Progress show?
IVM: The documentary film 'This.Is.Progress' premiered recently and is now available to view through the Demand.Progress. service – how has the reception been to this so far and can we expect more of these documentaries in the future?
JS: Well, we didn't make the documentary ourselves. It was made by Elixir Media and I believe that they're looking at crowdfunding to make a longer version of the documentary. The current one you can view is 20 minutes long but they've already shot loads of footage. Hopefully that will lead to something more, but again, it's not down to us.
IVM: It is safe to say that Progress is one of the top independent wrestling companies in the UK today, no small feat when there are over 100 active promotions, how does that feel?
IVM: What has been your proudest moment so far with Progress and why?
IVM: Where do you see British professional wrestling in five / ten years time?
IVM: Does British wrestling need more prominent TV coverage in order to push it to the next level, or is the internet filling in the gaps these days?
IVM: Who do you consider to be some of the top British talent around today?
IVM: With the feel of a raucous punk rock gig at Progress events, do you consider Wrestling fans to be a subculture unto themselves?
IVM: What advice would you give to someone looking to set up a professional wrestling promotion, or become a wrestler?
Becoming a wrestler: Find a good school, train a lot, go to the gym every day, expect to be in pain and broke, listen to advice from every veteran who will give you their time and when you've made your debit, wrestle EVERYWHERE.
IVM: 2016 has been a whirlwind year for Progress – what do you have in store for 2017?
IVM: Finally, is there anything you'd like to add/plug?
Friday, 2 December 2016
'Public Service Announcement'
The State continue a fine tradition of gritty minimalistic industrial rock that harks back to the days of of post-punk experimentation technophobic paranoia combining into a heady mix of dark subject matter and compelling yet aggressive sounds. The band's latest single – 'Public Service Announcement' – is a claustrophobic backlash against the rising tide of political instability in the west.
The lone track on this release is a dark yet anthemic album of steady dance-friendly martial beats, snarling punk vocals, gritty guitars and enticing electronics. It harks back to the manic experimentation of Killing Joke and the dark paranoia of Sulpher. It's raw, angry, and menacing industrial rock.
The production reflects the atmosphere nicely. Low-fi, but not low quality. It sounds like a forbidden transmission coming in from a pirate radio station to spread dissenting views. It's nice and gritty where it needs it, but the electronics and guitars are nicely balanced and the beats are always discernible and infectiously groovy throughout.
This is a really nice slice of British industrial rock. Infused with an undeniably catchy post-punk vibe and slabs of menace it is an intelligent and topical offering that highlights a lot of talent deserving of credit. Hopefully we'll see a full-length follow-up from The State sooner rather than later.
Wednesday, 30 November 2016
One of the things which the passing of the Reagan/Thatcher era took from popular culture was the pervasive presence of alternative subcultures in dystopian fiction. Virtually every thriller, sci-fi or horror movie from the onset of punk until the early '90s was soaked in alternative fashion and featured a shifting casts of mohawked outcasts, shadow-dwelling vamps and intimidating punk rockers – from 'Bladerunner's cyberpunk operatics to the street gangs of 'Escape from New York' and the chain-wielding bikers of 'Streets of Fire'; these mutated manifestations of youth culture were either predicted to spraypaint a bleak future with neon pink and studded leather or else describe a present that already was, as every average gritty cop drama of the mid-'80s would feature the protagonist in some seedy new wave club featuring glowering skinheads and spike-collared vixens. And then...nothing. So, what happened?
Considering Marc Heal's contributions to industrial rock include influential acts such as Cubanate, Pig and Pigface it is hard to believe that 2016 marks the release of his first solo album (discounting his work as MC Lord Of The Flies) in 'The Hum'. But if any album was worth the wait it is this one. Famed for blending rock guitars with techno electronics, Heal's reputation will undoubtedly bring some preconceived notions about how this album will sound. And while he does embrace his signature sound to an extent, Heal is more than happy to confound expectations as well.
Songs such as 'Tienanmen', 'Adult Fiction', 'Model Citizen', 'Johnny Was an Oilman', 'Monoxide', and 'Faithful Machinery' are prime examples of the classic blend of bombastic beats, infectious dance synths, searing guitar riffs, framing gritty vocals, and narrative lyrics that drive the distilled anxiety of the Zeitgeist into tense and frantic anthems.
While the likes of 'Katrina's House', 'The Abandoned Junkshop', and 'Wounded Dog' explore slower and dare is say, jazzier paths the yield darker and more sinister results. It's a track list that is unified in its direction and purpose. Rather than just a collection of songs, Heal presents a full album that takes the listener on a journey that is compelling from the beginning and until the end.
The production is just as strong as the songwriting and performances. There is the dark grittiness of good industrial rock present throughout. But there is also that big impactful element that recalls the likes of Gary Numan and Nine Inch Nails. It's a fantastic blend of aggression and melody that is crafted by what can only be described as an expert hand.
'The Hum' is a brilliant album. It's dark topical narratives, gritty snarled vocals, and sumptuous blend of guitars, synths and beats are a masterclass in how high industrial rock can aim. Heal could have easily rested on the laurels of past glories and given us more of the same. But instead he has pushed his abilities as a songwriter, performer and producer. And it has yielded one of the best albums of the year, and possibly his career so far.
Thursday, 24 November 2016
If you weren't told before hand this was a collection of singles, you would be none the wiser. While the album doesn't feel as thematically unified as 'Alive By Machines' the changes KPT has kept everything in line and singular in focus. Songs such as 'Fake', 'Something Went Wrong', 'Gift', 'Innermost', and 'Abandon' in particular show a steady progression and greater balance between dark experimentalism and infectious minimalism.
Production-wise the songs sound like they were recorded in one sitting, never-mind over the course of a few years. The skilful hand behind the desk has bridged the gaps between the songs and collated them into a more satisfying whole. There is a playfulness to the experimental nature of this recording, and in places it is less self-assured than others, but it has been executed at every step of the way to the highest quality.
KPT is a challenging act. One that likes to try and confound rules regarding melody and rhythm, but nonetheless even a stop-gap collection of singles is still a compelling listen. 'Blk Eye' is a tasty and satisfying release, but one that on the surface still lacks that rounded out vision of a full-length album release, and hopefully with these tracks collected, contextualised and released KPT will be back sooner rather than later with the follow-up to 'Alive By Machines'.
Wednesday, 23 November 2016
'Greeted As Liberators'
Toronto-based industrial producer Joe Byer, AKA v01d has been taking his time in writing the sophomore offering to his 2009 album 'This Is Not A False Alarm Anymore'. But after seven years the results of his labours are unveiled in the form of 'Greeted As Liberators' a master-class in old school techno meets industrial rock/metal. Odd time signatures, vocoders, searing guitars and infectious synth leads contort and morph around each other for a unique take on the fundamentals that made industrial rock in the late 80s and early 90s so damn exciting.
Tracks such as 'All Of The Rage', 'Abhor A Vacuum', 'Veils Will Fall', 'Walk It Back', 'Wave After Wave' and, 'The Sun Is Late' evoke the likes of 'The Fragile' era Nine Inch Nails meets revered names such as Pig, Pop Will Eat Itself, Front 242, and The Young Gods. It is a wonderful and intelligent blend of styles and genres that doesn't try to recreate the past glories of the genre. Instead it goes where it wants to, both sonically and thematically, challenging the listener and confounding the expectations that have once again built up around the revival of the industrial rock scene.
Production-wise, there may be nods to those classic bands but it is a very 21st century sounding album. It is gritty and experimental in places yes. There may be minimalistic beats and lots of feedback and distortion when it is needed. But it fresh, clean, and can easily compete with anything in the genre today.
'Greeted As Liberators' may be a short album by today's standards, but it packs a major punch. Byer has taken his time and it shows in a good way. The songs are well written, constructed and performed with great attention to detail throughout. Yet the album isn't over produced, it has the grit and grime a good industrial rock album should have, while maintaining both the more experimental and melodic elements in equal measure. It may have been a long time coming, but this was an album worth the wait.
Tuesday, 22 November 2016
Name of band: Neon Shudder
“To see people actually diving in and reading the story and saying they liked this character or that twist is a big deal for me. Knowing people are excited about something I created gives me huge drive to continue doing this.”
I read an article recently about the women who made themselves androgynous, or used an undefined-gender of a name, to achieve success. The article examined this, and mentioned their conscious withdrawal of their femininity in order to succeed.
And it got me thinking. It got me thinking of my own uber-use of my femininity in my work, and of other women artists who do the same, all fields of art confounded, and of the XXIst century.
I stand, here and now, as witness of the many aspects, or archetypes, of women in arts, and as we come closer to 2017, I wonder what the future holds for us, and for little girls all over the world.
I examine the models these little girls have, and I come to the conclusion that every lady essentially marches to the beat of her own drum, and that this, beyond anything else, is what we need to get in these little girls' heads.
As spiritual beings given bodies for us to live our human experience, what matters is that we cherish this temple we are given to live in.
Humans come in all shapes, colours and sizes, and our first happy place should be in our bodies.
It is of utmost importance to embrace who we are and what we look like. If you're not happy with what you see in the mirror, do whatcha gotta do to fix it, but make sure you're doing it for yourself.
And then, regardless of and beyond that, know solidly, indestructibly, that what matters even more is that you love what you are inside. Love everything that you are, love what you can do, love your potential as a human being.
If you're going for the gender-bending identity, do it because you want to. If your animus needs release, and you need its release, go for it and make it shine. Just make sure, again, that you're doing it for yourself, because if there's one thing we shouldn't be afraid of anymore, as women in the XXIst century, it's to be our Selves.
Now, the Athena in us will meticulously strategise, and has, since the dawn on time, as her nature intended. The strategist will help us develop our plans by gathering the appropriate elements and information we need to act. An appropriate example is that of J.K. Rowling, who was stated in the article. She used her initials, not her full first name, to get published, knowing the perspective on her work would be different. Long before her, there was George Sand, who lived in a more opressive time for women who sought out careers in the arts. She used a man's name for her work to be published.
Would these women's success have been otherwise, had they used their full, real names, when submitting their work? One can only muse upon alternate possibilities.
Regardless of that, it took only the release of the first Harry Potter novel for the people of the entire world to know that J.K Rowling was indeed a woman, and that they most certainly wanted more of what this woman had to create, and offer.
A strategic choice.
Now, I am not enough of a writer to form a definite statement on the reality of the writing world, so I couldn't come to a clear conclusion on this particular matter. Does a woman's full name on a manuscript truly make a difference in the perspective of editors when they read it, or does the focus stop at the content?
I cannot answer this, but what I can say is that it shouldn't.
I am a musician though, and a performer, and I study the archetypes portrayed by my predecessors and my contemporaries. I can see the clear distinction between, say, Annie Lenox and Madonna. Ultimately, both of these women have had incredible careers, all the while portraying aspects of women at complete opposite ends of the spectrum. Would the outcome of their careers have been otherwise had they presented themselves differently?
One can only muse on alternate possibilities.
As performers, we show our face, our body. We cannot pretend not to be women, even if it's just for a little while. What matters is that we embrace who we are and that we take pride in the face we show to the world. And what matters beyond that is that we do not fear the response of neither men nor of other women. Sometimes I can't believe we're in 2016, in the XXIst century, and that women who've chosen to embrace and expose their femininity are still feared, disregarded, shunned or shamed by men and by other women. The fact that this is a reality in our society shows a clear, underlying problem at the core of humanity, coming down to self-confidence, and perspective.
For the focus, ultimately, in all fields, should be on the woman's work. And if part of her work is her presentation of her self as this uber-femme, then it should be seen as part of her work as well.
Would the democrats have won the recent US elections had a man ran for presidency, and not a woman? One can only muse on alternate possibilities.
The fact remains that this is the XXIst century, and it's high time for little girls everywhere to be taught that they can be and do anything they want, and present themselves however they damn well want.
And it's high time for us all to stop judging a book, or an album, by its cover.
What matters are the words. What matters is the music.
What matters is the work.
Thursday, 17 November 2016
DEAD WHEN I FOUND HER
'Eyes On Backwards'
Following on from last year's 'All The Way Down', Portland industrialist Dead When I Found Her (AKA Michael Arthur Holloway) returns with a fourth full-length studio album in the form of 'Eyes On Backwards'. Once again evoking the early spirits of acts such as Skinny Puppy, Frontline Assembly, Nine Inch Nails and Ministry, DWIFH's use of the classic sounding industrial formula breeds a surface glean of familiarity whilst allowing lots of room to experiment and get nasty.
Songs such as 'Tantrum', 'The Big Reverse', 'Braille', 'Unsolved History', 'Midlife Eclipse', and 'Serus Mundi'are dark and atmospheric movements through post-industrial decay and a new cold war paranoia full of snarling distorted vocals rhythmic stuttering beats and subtle but effective lead melodies. It is a dense and menacing album that sees Holloway at his most pointed and focused to date.
The production is clean and modern which is a perfect balance to the old school sound palette that Holloway favours. While the individual elements from the albums are reminiscent of the late 80s and early 90s, the execution is bang up-to-date and impactful. As a result the songs may have a light air of familiarity, but the is no denying that they are their own beasts altogether.
This is perhaps the strongest Dead When I Found Her album yet. It is both classic and relevant. A perfectly distilled expression of angst and paranoia crafted by a skilled and intelligent hand. As with previous releases it will appeal to older industrial fans as well as those finding their way to the genre through newer bands. But most importantly 'Eyes On Backwards' continues to see Holloway's stock as a musician continue to rise.
Wednesday, 16 November 2016
THE SWEETEST CONDITION
'We Defy Oblivion'
Hot on the heels of their 2015 full-length début, Nashville's The Sweetest Condition hit back with their sophomore offering in the form of 'We Defy Oblivion'. An album that sees the bands signature sound of synthpop crashing headlong into harder industrial elements and some brash rock guitars further refined into a sharper and more focused attack.
The ever present lead vocals of Leslie Irene Benson unifies each track with a melodic counterweight to the darker and more sinister instrumentation which effectively distils the current chaotic world climate into a frustrated and defiant statement.
Songs such as 'Deconstructing', 'Don't Cross Me', 'Keep Turning Me On', 'Vices', and 'Nein Nein Nein' lead the charge with a strong blend of melodic synths, hard steady beats and searing guitars. While the likes of 'Faithless', 'Knock Us Down', and 'Unforgiven' in particular push the electronic elements harder for a more bouncy and dance-orientated sound. The result is a blend of great 90s electro rock re-appropriated for the current climate. There is that slightly grungy flavour to the rock guitars and the vocal performance, but a wholly 21st execution.
Production-wise there is a nod to those 90s influences, but no needless nostalgia. The band know who they are and what they want to say. And quite rightly the production is fresh, up-to-date and modern throughout to bring the best out of the individual tracks and bring them together into one collected statement of intent.
'We Defy Oblivion' is a strong second album that is heavy, catchy, and full of surprises. It will instantly find favour with fans of Depeche Mode, Nine Inch Nails, Kidney Thieves, and Godhead. The band have passed the difficult second album test that seems to stump so many, and they have done it with ease.