Really excited for the podcast with DC band SYZGYX where they discuss Sierra, ELZ and the Cult, Moris Blak. As well as Pasta sauce, John Carpenter, and keyboards. As always linking the bands we discussed
This was an a great experience interviewing our friends from Twin Tribes where they discuss their new album Ceremony, three new bands they are exited about, life on tour, food on tour, which coney dog is superior, and the Absolution festival. Below I will post the links of all the bands we discussed. Please check them all out and support great music. Please like and follow the Soundcloud page, we have more great stuff on the way.
Twin Tribes from Texas
WingTips from Chicago
Korine from Philly
Choir Boy from Salt Lake City
Creux Lies from California
Actors from Vancouver
Panic Priest from Chicago
This is episode 1 of the Sounds and Shadows podcast. Here we feature artists in our scene choosing three bands they find meaningful and important in modern music. We then discuss three of their songs. In this episode Collin and I talk with Jason Corbett of the band Actors and Jacknife Studios from Vancouver Canada. We discuss three bands he has recorded Frankiie, Gang Signs, and Mesa Luna. We also drink sugar free Red Bull and spout off about life on tour, the modern post punk revolution, and whatever came to mind.
Enjoy the discussion and leave a comment or question below, I bet Jason will read them 😉
Musician and producer Darrin Lewis has spent the last fifteen years making music, touring and producing, most notably with metalcore outfit Beside The Silence.
In lieu of Lewis releasing his debut single “#GOTHGIRL” from his solo act Nothing Valentine with an accompanying music video on the way we sat him down for a quick chat about the new project and the exploration of new sonic landscapes.
By: Adrian Kjøsnes
Adrian: Can you give us some background info? What is Nothing Valentine and who is part of it?
Darrin: Nothing Valentine is a stage name I’ve been using since my first band, To Live is to Die (circa 2004). It’s a name I’ve always identified with. When I decided to put Beside the Silence on hiatus I was considering just starting another typical band. But over the years I’ve always been left feeling unsatisfied with that route. I’ve always been the writer/producer/art direction with every band I’ve been involved with since 2007. And alot of times, it was a very lonely process. So I thought, why not just present everything myself?
A: Having played in a metal oriented band such as Beside The Silence what prompted you to go a new, more electronically based direction with NV?
D: I’ve always grown up playing in metal bands. Really cause that was the only type musicians around me. When I got into music, the metalcore and deathcore scene was just starting to break out and thats what everybody was interested in. But I was always drawn to industrial/electronic bands of the 80s/90s like NINE INCH NAILS, SKINNY PUPPY, MINISTRY, and KMFDM. As well as “nu-metal” electronic bands that blended the sound with more modern metal elements like STATIC-X and FEAR FACTORY. I always felt bands like that were very creatively freeing compared to the deathcore style of “play it as heavy and fast as you can.” I was feeling very cornered in that scene and I wanted to explore myself musically. I’ll always love metal though and I’m far from done with it. I have a whole second BESIDE THE SILENCE album written that I’m sure will see the light of day sometime.
A: Your new single “#GothGirl” seems to be a bit of a mixture of genres yet remaining firmly on the alternative spectrum. What was the inspiration for it both lyrically and musically?
D :”#GOTHGIRL” is at its core, a song about individually. I’d watch alot of my friends online getting involved with people who don’t understand them. Having a goth girlfriend is very posh these days and there’s alot of guys out there who think they’re hot but as soon as they get involved they try to change them. And that’s really unfortunate cause goth culture can be so beautiful and creative if you just give it a chance.
A: Is there any chance for shows and/or touring anytime soon?
D: Yes I currently have a few shows booked for next spring in my hometown of Cleveland, Ohio. Touring is expected to start next summer. I’m spending alot of time building an exciting and high energy show and I’m really excited to finish putting it together.
A: As well as being a musician you`re also a producer. How did you get started in that field?
D: My introduction to recording and producing came about when I was 15 and in my first band. We recorded at a big name studio in town and I was enamored by the process and all the gear. I started learning and reading every book I could about recording and mixing. When I turned 18 I bought a multitrack recorder and a drum mic kit and I started recording basement demos for myself and friends bands. A couple years later I started getting into computer recording and programming synthesizers. I wanted to be able to produce my own music and not have to rely on other people so I started recording my own songs.
A: Which artists have you produced so far and do you have anything coming up in that realm anytime soon
D: Other than my own projects and some friends local bands, my first major project was “ICONOCLASM” (by Norwegian band Carrion ). I’m mainly focusing on my own music for the time being but I’m always open to work on something cool if it comes along.
A: Back to the single, you have a music video, what was the inspiration behind the video and do you think you will be doing more videos?
D: I wanted to shoot something fun, sexy, and spooky. I don’t want to give away too much but it most certainly involves some hot babes in a graveyard.
A: Nothing Valentine is more on the electronic/industrial side, how long have you been working within those types of genres?
D: I would say just about as long as metal. NINE INCH NAILS has been my favorite band since I got into music and have influenced my writing alot over the years. I’m glad to finally be able to explore that side of my creativity more with this new stuff.
A: When creating for NV do you rely more on software or hardware?
D: I like using a combination of the two. I tend to use software to quickly get ideas down. Then I’ll go back and run the midi through my hardware synths and reamp just about everything through guitar pedals.
A: Where did the name Nothing Valentine come from?
D: The name Nothing came from a character in a 1991 vampire novel called “Lost Souls”. It’s a book that I fell in love with when I was a teenager. Nothing was someone I related to heavily back then and still do in some ways.
A: The last word is yours, feel free to promote or leave a message, shout out etc
D: Keep a lookout for the #gothgirl music video and new music! I’m always in the studio working on stuff and excited to show everyone what else I have up my sleeve.
Industrial music is having a resurgence for me. Sometimes I have to put something on the shelf for a while and let a form of art grow on it’s own until I am ready to jump back in. This year in particular I have fallen so deep in the hole of new releases I couldn’t keep up. So I am going to fire through several reviews at once to try and touch on the wondrous new movement happening in this genre. This piece is a bit of the throwing several things in the blender and doesn’t have my usual formatting. It’s also two authors because Adrian Kjøsnes did the review for Moris Black.
Stoneburner is Steven Archer of (Ego Likeness)
Hometown: Baltimore MD
Label: Negative Gain Records
Industrial music has generally been something nostalgic for me. The music of my jaded youth. My aggression, my frustration, a remembrance of a young man lashing out with fire at the world. Then like many things from my youth I put aside that fire and found myself drawn in new directions. Maybe I felt I had outgrown Industrial. this year that changed for me with Stoneburner’s “Technology Implies Belligerence”. This was an album that kindled that fire and chaos once again. This time with an intelligence and focus that made Industrial feel mature. When Steven told me he had a new EP already I will admit I was skeptical. How do you follow an album I thought of as groundbreaking so soon? “Massdriver” to my amazement and excitement has done just that.
Currently out on a US tour Stoneburner is bringing to life this throwback to old school rhythms and noise with modern production and lyrics that matter. With “Technology Implies Belligerence” we were assaulted with abstract concepts of progressive thinking persons blends of sound and image. Drawing on world beat drums and samples. “Massdriver” takes this idea, but clarifies it. Pushes the poetry and emotion of the vocals to the front where Industrial has been afraid to go. To create a psychic assault so powerful that a piece of the artist is left resonating in your mind after the show.
I had a chance to discuss this tour and record with Steven a bit and here are some insights.
(Ken) Why is this album and tour special for You?
(Steven) The album and tour are special because they are the culmination of 35+ years of listening to electronic music. When I sat down to write this record, well these records, wanted to address the lack or originality and grit that seeing to have pervaded their genre.
(Ken) How has your stage setup changed for this tour?
(Steven) The stage setup has grown. My drummer Hemlock is playing my old hand drum rig and I’ve built a new one out of sheet metal and triggers. Which frees up, or at least changes the performance dynamic.
(Ken) What material (books) (music) were you drawing from when you composed this album?
(Steven) The recent full length from this summer, “technology implies belligerence,” is based in large part on the book “Blindsight” by Peter Watts. Essentially I wanted to write a record with footnotes.
I was lucky enough to see the kick off show of this tour. The emotional and visual offering put on display in an intimate setting. Here is something I haven’t witnessed in a long time. Every aspect of what you see and hear is painstakingly constructed by hand and with extreme meaning. Also the live show features percussionist Hemlock MacNamara, who throws so much intensity into smashing mic’d up pieces of sheet metal I am tired just thinking about it. She is a force of nature. Steven is truly bringing fresh artisanal farm to table locally sourced sonic explosion right to your doorstep. Don’t miss this tour.
Nov 10 KC MO @ The Riot Room
Mon Nov 11 St. Louis MO @ The Crack Fox
Wed Nov 13 Houston TX@ Super happy Funland
Thurs Nov 14 Austin TX @ Texas Mist
Fri Nov 15 San Antonio TX @ The Amp Room
Sun Nov 17 New Orleans LA @ The Goat
Mon Nov 18 Tallahassee FL @ 926 Bar & Grill
Wed Nov 20 Knoxville TN @ The Concourse
Fri Nov 22 Nashville TN @ The East Room
Sat Nov 23 Chattanooga TN @ ziggys music box
Thurs Nov 28 West Palm Beach FL @ Respectable street
Fri Nov 29 Jacksonville FL Bay Street bash
Mon Dec 2 Raleigh NC @ Legends
Fri Dec 6 Richmond VA @ Fallout
Sat Dec 7 Charlottesville VA @ Holly’s Diner
Sun 8 DC @ The Pie Shop
All The Wells Are Poison Now – Fierce and dangerous in it’s pacing with a lovely echo chant. “You will always curse the ones you love”. It is an infectious hook with building intensity. Goddamn this made me dance hard live.
First World Murderer – Breakneck attack right out the gate. This track really shows Stevens love of east coast intellectual rap like Public Enemy. They lyrics strike forth in a rhythmic cadence assault. It really reminds me of the common ground between well done rap and well done industrial.
Artist : GoFight
Hometown : Chicago IL
The name Jim Marcus is such an integral part of Industrial music. For me personally seeing Die Warsaw in my formative years opened my mind to how wide the range of Industrial music could be. Go Fight also put out an amazing album last year Tokyo Sexwale. The follow up Anthem was fairly uncharted ground for Jim in that it is an album of covers. One of the powers of great industrial music has always been to take something old and wonderful. Run it through machines, effects, and sludge and make it new and glorious again. This is what Jim achieved by taking his most influential songs of the 80’s. Showing you the music that fueled him in his art and feeding that energy through a giant battlemech. You recognize these “Anthems” but they are dancing towards you with cybernetic tank tread power.
I was lucky enough to be at the CD release party and hearing this album blasting over club speakers was experience that fueled me with hope. There is still more ground to explore in Industrial, and GoFight is paving the way.
My Spine is the Bass Line (Shreikback) – Ok, Shreikback is one of my favorite things in this life. To hear GoFight add its filthy, sexy, dance groove to it left me speechless. Honestly I am not sure how to even process how excited this makes me.
Right Wing Pigeons (Dead Milkmen) – The Dead Milkmen are one of the most underrated bands of all time. They are a huge influence of mine and their versatility to flow between political punk and humor was so unique in a time desperate for satire. This cover is an almost unrecognizable re-imagining which GoFight truly made its own. It’s still so poignant, maybe even more so all these years later.
Here I get a two for one. I Ya Toyah remixed by Joy Thieves. These are two of the hottest new bands coming out of the Chicago Industrial scene. I had the amazing pleasure of sharing a stage with Ania last Saturday. I can’t remember the last time I faced that much terror having to follow someone on a stage. The amount of sound, emotion, and precision she achieves all by herself is nothing short of staggering. Having Dan of Joy Thieves who are amazing in their own right do this remix creates an absolute burner single. She is about to go on tour with Pigface and if you miss her live performance you have done a disservice to yourself.
I Ya Toyah leads well into the amazing new release from superband Joy Thieves from Chicago which features here. I just did a review of this release but it is putting the hard rock edge back into Industrial and music be checked out.
Moris Blak review by Adrian Kjøsnes
Moris Blak is an industrial artist based in Boston,MA who after the release of their “Dead Summer” EP began gaining a cult following within the scene of dark electronic based music.
November 8th saw the release of the debut album “The Irregularity Of Being” and that is what we will be dissecting here…
So, let the ceremony begin.
We begin with the intro track, just a few seconds over a minute long “Every Limb Into The Bottomless Pit” . I myself honestly tend to skip intro tracks as they`re often just not all that interesting but this one escapes the trap most intro/outros fall into. Big, chiming bell like sounds combined with the spoken word and sizzling electronics draws you in and anyone who chooses to not discover what follows would be just plain wrong to put it very lightly.
The intro leads us directly into “Druglicker” where we begin with a catchy sequence, a Silent Hill-esque siren sounds comes crawling in before the first punch of the beloved industrial beat. I do have to say that I myself do not always the most positive view or words regarding the current state of the industrial scene but Moris Blak quickly dispels any expectations I may have had by breaking the traditional and quite simplistic 4/4 kick drum over a series of arpeggios and/or sequences by giving us something more akin to glitched out industrial madness.
So far so good. After a glitchfest of an ever evolving buffet of sounds, bleeps, bloops and squeals regularly breaking into a sequenced bass synth the track slows down and enters noise tinged ambient realms for a moment before we enter back into industrial territory.
track number three is entitled “Pain” and features Angel Metro.
Here we begin by entering the church of synth, in fact, we`re crashing in right in the middle of choir practice. Ominous, choirs layered over samples, with a sequenced bass creeping in all slowly evolving into a slower paced beat.
And then come the sirens…
Female, and quite interestingly produced vocals is a pleasure to hear rather than your usual balding dude in camo pants screaming into a mic processed by the Boss SE 50 as with so many other bands within the genre….Moris Blak offers a great variety of vocals styles ranging from whispers to broken up, glitched out and pitch shifted . There`s even a small piano sample at one point for extra creep factor 😉 This track looks like it`ll be on my top three list when we reach the end but with how well this is going who knows? Maybe I`ll find something even better..
Next we got “Erase Displace” featuring Pete Crane of Australian electro act Shiv-R. There`s an element of horror score to the intro, which of course, is no complaint. Clean vocals draw you further in before the drums, which stay consistently big , punchy and bass heavy appears. Atmospheric melodies comes and goes before the drums speed up and drops us down into ambiance. A soft yet dark and beautiful pad accompanied by the vocals slithers around us…And then comes the drum attack, broken by what sounds like reversed and crushed samples before the vocals reappear and brings us to the end of the track.
It`s hard not to want to put this on the that top three list as well but I must resist in order to keep the space open for anything that may come next…
When I looked at the title of the next track I couldn`t help but smirk a little as I saw it features Amelia Arsenic of Angelspit. A band I was introduced to in my early teenage years by one of what must have been the only four (including myself) alternative people in the middle of nowhere town I grew up in… I`m a bit surprised to find out this track seems to, at least to start of, be more of a ballad.
I also want to point out the production quality overall, the sound design of this release is interesting and fun in all the right ways, Moris Blak definitely has his “sound” I think it`ll be interesting to see what the future brings.
The ballad esque aspect leaves and introduce vocals reminiscent of Skinny Puppy nicely sprinkled around Amelia`s voice while the drums seemingly builds up towards something big only to drop us back down with high pitched piano sounds tricking us into that this is all nice and soft then hitting us with driving, pulsing synths beneath floating almost dreamy vocals. This track in particular seamlessly incorporates elements from a wide array of genre. Something not everyone can pull off and even less can make you want to listen to.Beat changes, style switches, every color of the proverbial crayon kit is used.
“Strange Eternal” features the trademarks of the 90s and early 2000s industrial scene, four to the floor and cut up vocal sample galore. Not my preferred form of the genre but MB hasn`t let me down thus far and so my hopes remain..
What I will point out however is that while Moris Blak does have his own style and ways of things it`s never predictable, each track serves you something new which keeps things interesting yet recognizable which can`t be said for that many.
“Strange Eternal” trudges along as what seems to be the more club oriented track this far, I may not be a clubgoer myself but I can easily envision the hordes of darkly inclined youth (and elders) enjoyment of this track on the dance floor of any given industrial night.
“The Violence” follows and features Slighter.
An instant improvement from the previous.
Clean, soft vocals always interest me in a genre riddled with screaming.
Musically it quickly changes from slow paced and atmosphere filled to drum driven and interestingly broken by glitchy sound design. The drum work in itself is interesting, yet another element that so often lacks in this genre. To hear something where you can`t always so easily predict the next hit of the drum, or the sound even, is definitely refreshing.
About three minutes and twelve seconds in is where for me at least this really shines. I`m loving the layering of the near seductive vocals as well. The track ends in a glory of ambiance and piano and leads us to the second to last track “Velvet Coil” which features Noire Antidote and Johnny E. Veil, the latter being a member of fellow industrial band MAN1K1N who I absolutely would recommend.
What sounds like lost souls screaming in despair greet us at the gate here with a melodic bass line almost hollow but the good kind. Trust and believe , I`m not happy about making this comparison but my immediate thought regarding certain aspects of the first seconds of vocals brings Marilyn Manson to my head.
I`ll see myself to the door…
Anyway, this track is a serpent slithering through each and every crack leaving a trail of reverberated melody before entering into a more danceable territory featuring cut up samples of the aforementioned choir of lost souls in despair.
We`re lead towards the end by drums and melody galore and enter the last track, being the albums title track clocking in at ten minutes and 49 minutes.
A drone greets us.
It presents us with malicious piano melodies, air raid siren esque synth sounds and heavy, slow ,draggin drums that quickly picks up it`s pace.
Full stop and only remains of ambiance and a fractured piano remains until we go back where we came from but this time there`s the sound of reversed samples to accompany us along the way.
Glitchy sound design, a steady beat that stops up here and there but not for more than a second at a time to keep dragging us into itself as a softer style synth sound floats over, witnessing our arrival at the end of days, or at least this album.
An array of sound comes in after a nicely timed build up, not too long, not too short, just right there at the sweet spot. At least for those of us with SASD (Short Attention Span Disorder)
Five minutes in and halfway to the end it`s clear that this track could only be described with one word: Grandiose. In fact, we could sum up the album as a whole using that very word.
Six minutes and six seconds in comes one of my favourite moments of this album.
The beat slow its pace, a haunting melody crawls ever near…Can you tell I`m a sucker for ballads yet?
It doesn`t last as long as I`d want it to but what follows isn`t bad so I won`t bitch too much about that..
Back to what I can`t help but describe as a more club oriented pace I`m a little surprised to see we`ve only got a couple minutes left `till it`s over. Longer tracks tend to bore me quite rapidly (see the aforementioned SASD) I`ll take this as a positive sign of that Moris Blak has managed to keep me interested, my attention has been firmly pointed towards the music rather than drifting off into thoughts of well, anything else really.
The album closes with large, atmospheric pads floating through a piano as the album title suggest this album is indeed an “Irregularity Of Being” in that it doesn`t lean and rely on old, trite genre tropes , it keeps itself exciting with its ever changing soundscape yet retains it`s identity for the full 45 minutes of running time.
Overall I would say this is definitely one of the better releases to come out of the current industrial scene yet it operates within the confines of the genre, the modern take on it that is…
We are just scratching the surface here of the exciting things happening in Industrial. If you are ready to take a dive back in with us these bands will give you the right starting point. What bands did I miss you are excited about? Leave a comment below. KM