It’s time to start reviewing Twitch livestream DJ shows. First up Hate Mior Isolation – A Soundtrack to the Life and Death of Ian Curtis

This pandemic has changed things. The world we left is not the one we will return to. Even as vaccination rolls out and tours and festivals start booking. A giant void was left in the fabric of our reality and club Dj’s headed to places like Twitch to fill that void. It wasn’t enough to spin Spotify or Mixcloud playlists. People hunger for an interaction. To have a story told. A “Radio show with a strong visual componentHate Mior. The people who have embraced this new medium have broken a never before done artform which is creating a modern day electronic salon for music fans from around the world to congregate and discuss culture and music in real time. I will start by reviewing a very special 5 hour show by Toronto Street artists/Clothing creator/and DJ Hate Mior and their show to commemorate the life and death of icon Ian Curtis (Joy Division).

https://www.twitch.tv/hatemior

https://www.twitch.tv/hatemior/clip/KindTrustworthySalmonPipeHype-1hbfCfSy4qdUdKo3

https://www.twitch.tv/videos/1042696401

This piece is a journey, a story of one of the most known and tragic figures of our genre. Ian’s words and unique musical style were taken too soon but left a rippling effect which burned hard in the imagination and inspiration of generations to come. It opens with the fitting David Bowie classic “Rock and Roll Suicide“. Hate then appears on the screen with the flat lined supernova readout that is homage to the Joy DivisionUnknown Pleasures” album. One of the most recognizable images in T Shirt history. Their face is emotive and playful. Stark in Black and White. Projecting the range of an experienced theater performer. Then The Sex Pistols No Fun rings out. It’s hard to separate The Pistols from Joy Division. Legend has it the band was formed at one of their early shows.

At the 25 minute mark Hate lays out what the concept of the show is and why it is important. Also the role the visuals play in the story. Because this isn’t a radio program. It’s a multi media experience. They site reference material like “Touching from a Distance” by Ian’s widow Debra Curtis and the film Control. I love how the story starts at the true beginning. The number one hit in England during Ian’s birth “Why Do Fools Fall in Love“. The narritive progresses to Ian’s early family influence and what it was like growing up in a factory town like Manchester. Matching up the video to the film “Jason and the Argonaughts” which was sited as playing a dramatic role in his development. I love this attention to history. It is clear early on this isn’t just a setlist. It’s a biography set to music.

Ian Curtis is best known for the power of his lyrics. It was truly transformative poetry of the depths of the human condition. Here Hate calls out specific lyrics and the impact his early loves played on those later verses. A story then goes into Ian’s love of mime and performance. How this connected to David Bowie. Then the most important part, how it connected back to Hate’s own life and experience in performance. Because the new roll of the streaming Dj is also as a performer who makes a personal connection with the audience. The Dj is no longer the the one who chooses the music, but a part of the story themselves. This brings Kate into their idea of Ian and Debora’s personal mixtape. I think the other aspect worth noting is Kate does not hit play and put their headphones on. They take this journey with you. In movement and facial expression.

“Kate has an unhealthy knowledge of this band. The setlists were weird until I realized where the show was going.” It felt like going through a museum with the best tour guide on their roster. The stories, background, and history allowed you to see the paintings for yourself. Just gave all the best behind the scenes insight to make everyone who watched feel like an expert.

Setlist: PROLOGUE: David Bowie – Rock n’ Roll Suicide John Peel Announcement

: The Death of Ian Curtis Sex Pistols – No Fun Sex Pistols – Pretty Vacant PART 1: Frankie Lymon & The Teenagers – Why Do Fools Fall in Love David Bowie – Sound and Vision The Doors – Light My Fire Neu! – Wave Mother The Velvet Underground – Candy Says Nektar- It’s All in the Mind Mott the Hoople – All the Young Dudes Roxy Music – More than This WARSAW YEARS Warsaw- No Love Lost (early recording) Warsaw – Warsaw Warsaw – The Drawback Warsaw – They Walked in Line Warsaw – Tension Warsaw – Lost Iggy Pop – The Passenger Buzzcocks – Lipstick The Fall – Firey Jack The Drones – Persecution Complex X-Ray Spex – Oh Bondage! Up Yours Delta 5 – Mind Your Own Business Gang of Four – To Hell with Poverty Martin Hannet & Joy Division – Noise Drums Sine Warmup N.F Porter – Keep On Keeping On Joy Division – Interzone Frank Sinatra – My Way

In between the sets you hear the famous Henry Rollins rant, along with a Bill Burr quote. I love the full picture here of adding other voices to how Joy Division effected them. Shout out for the Bootblacks spin who I think has a direct line the flavor and magic Joy Division captured. From here the set veers sharply into a tribute to Joy Division the way it was meant to be heard. 1st pressing vinyl, obscure cuts, and a Martin Hannett homage. Kate calls out the people who support them, which is such an important part of the modern stream. People have a longing to be connected to what they are seeing. The best streaming shows understand this and make the experience interactive.

PART 2 – THE RISE AND FALL OF JOY DIVISION Joy Division – Shadowplay (First television appearance) Kraftwerk -The Man Machine Joy Divison – Day of the Lords Joy Division – Twenty Four Hours Joy Division – Insight Martin Hannett & Joy Division – More N4 Drum Programming Joy Division – Transmission (Arrow Studio 1978) Jou Divison – Transmission (12″ original vinyl) Joy Division – Incubation Joy Division – Dead Souls (live at Les Bains Douche) Joy Divisio – Isolation Joy Division – She’s Lost Control (original first UK press vinyl) The Captain and Tenille – Love Will Keep Us Together Joy Division – Love Will Tear Us Apart Section 25 – Girls Don’t Count Section 25 – Colour Movement Sex & Violence Parts of Ian Curtis’s recorded past life regression therapy (originally recorded by Bernard Sumner) FINAL CURTAIN A Certain Ratio – All Night Party Joy Division – Ceremony (Live at Birmingham University) Joy Division – Disorder Joy Division – Decades Joy Division – Digital Joy Division – The Eternal Iggy Pop – Nightclubbing Iggy Pop – Mass Production Martin Hannett & Joy Division – Atmosphere Buildup MUSIC VIDEO: Atmosphere David Bowie – Warsazawa

The game has changed and Djs haven’t just had to adapt. They have had to create a new medium of art and experience. This was a history lesson, a street performance, and a psychology paper rolled into musical format. If this is the future of streaming shows that the pandemic has made for us. If this is the way the world connects online to become a little closer, a little smaller. I say the future looks bright and is starting to heal the pieces of what this isolation has made. Where will it end?

I’ll work on more stream reviews soon, who are some of the ones you love? Comment below

Ritualz – †‡† 10 Year Anniversary Re-Release Interview with JC Lobo

This year marks the 10 year anniversary of †‡†, one of the most influential records in the Witch House scene and a pillar of that genre. This release was at the forefront of a wave of bands that brought a new flavor to dark music and challenged the expectations of what goth music could/should be.

To celebrate this occasion the fine folks at RE:Mission Entertainment are releasing a new remastered version of this genre defining release on vinyl!

JC Lobo a.k.a. Ritualz was kind enough to chat with me about the EP, his thoughts about its relevance to his overall process, the scene in his native Mexico City, and what’s next…


Wow! 10 years… How do you feel †‡† has held up?

I still like this release a lot. Some of my favorite tracks I’ve made are on it and I still play a couple of them regularly on my live shows, a bit updated to fit with the newer songs, but I didn’t change them too much. I think for a 10 year old EP from a very specific time it’s held up fine. A lot of commercial music from that time sounds awful today but a lot of the underground stuff is still good.

I remember hearing this back when it came out and was like “holy fuck!… This is what I’ve been missing since the early days of TKK and Coil” What made you decide to take this direction?

When Disaro asked me to release an EP on his label I wasn’t sure what I wanted to do with this project. I only had a couple of tracks which were pretty much just experiments. I had no direction set for this project. It was when I made Kvltstep that I felt I had tapped into something. It was the first time I felt this purple feeling in the music I make. I can’t really explain it, but it’s not synesthesia. I don’t see anything. I just feel “purple” inside. It’s the mood, the emotion of the sound. I decided to try and get that feeling from every song without making every song the same.

Your music is described as “night music for the end of the world”… What does that mean to you?

Part of this purple feeling in my music is the sensation of it being nocturnal. I don’t think it’s music to listen to during the day. I don’t think I ever worked on any of these songs before it got dark, I always worked at night. So this music is dark because it comes from literal darkness and some things are just better enjoyed at night/in the dark. As for the “end of the world” part, I think we are living through it. People have this idea of the end of the world being far away and a one day cataclysm, or some supernatural thing that’s going to end us, like aliens or the rapture, but this planet is billions of years old and we’ve been around for a tiny fraction of that time. It’s the end of the world because we’ve entered the final stretch of our time here as a species. It might last a hundred or five hundred years, I don’t know, but our days are for sure numbered. So that part is just commentary about the times we’re living in I guess.

After 10 years, what do you think you would want to tell your past self about how things would go with the record? Would you try to change how you did things, or would you just tell them to just get on with it?

I think I did the best I could with this release and everything that happened in the 6 months between it and the next one. I would only tell myself to make more music and then make like three backups of everything I make. It’s all lost (hard drive with the only backup died) and it could’ve been prevented if I was less trustful in technology.

How does the scene in Mexico City influence/support what you are doing with Ritualz?

My music is too dark/not dance-y enough for the electronic scene and not abstract enough for the experimental scene. I identify with goths the most but the goth scene here is stuck trying to sound like bands from the 80s. No one wants to make or listen to anything new. We’re on like our third post-punk revival and people think industrial music is shitty techno with a distorted kick, so I just don’t get too involved. There are some people that do support what I do and I am very thankful to them, but I think I’m largely underappreciated in this city/country. Not that I think I deserve a lot of recognition either, it’s just weird knowing far more people are into what I do in Los Angeles, Warsaw, or Saint Petersburg than here. I tweet and post in english because I know 99% of the people reading are not from Mexico, that should sum it up.

How did you get hooked up with RE:Mission for this anniversary release? What was it about the label that made you decide to go with them?

I had plans for reissuing this EP on vinyl for its 10th anniversary but the pandemic and a canceled tour ruined those plans for me. Wes knew about them and offered to release it on Re:Mission. I’ve known him for a while now and have seen the work he puts in the label so I agreed. It’s been a good experience.

What’s next? New music? Shows? A line of fine china?

New music in the fall hopefully. I’ve been holding on to this new record for over a year now so I hope I don’t have to wait until next year to put it out. I’m still very cautious about booking shows. I haven’t been vaccinated and won’t be until around August and I want to wait and see how things go for people playing shows before I start playing again. I’d be surprised if I play any shows at all this year. My canceled European tour is going to be rescheduled for 2022, so that’s the only certain thing right now.

Thanks for taking the time to talk about Ritualz and †‡† 

Ritualz’s debut EP †‡† will be released as †‡† on 180g/45RPM vinyl via Remission Entertainment on June, 25th 2021. 

Pre-order the vinyl here:

https://remissionentertainment.bandcamp.com/album/-


Check out more music from Ritualz @ https://ritualz.bandcamp.com

A Cozy Fireside Chat with SLIGHTER

Greetings Sounds and Shadows family! It’s been a while. I’m currently shouting through the ether of fatherhood to get this interview to your head holes today and I have a very special guest. I was able to catch up with Colin Cameron of SLIGHTER and do I top tit interview with him. You know him, You love him and you wish he was your fuckin’ boyfriend.

He’s too fast for average film exposure times

EL: So ill try and get all the arbitrary music interview stuff out of the way. How did you get your start in music and made you get into industrial?

CC: Like most I gravitated towards music really young, I did my first ‘garage bands’ with my friends in middle school. Then I ended up going to high school in the middle-of-nowhere Colorado when I discovered Front Line Assembly, Chemlab, KMFDM, God Lives Underwater, and I didn’t really know that idea or whatever of calling it “Industrial”. Record shops were small and didn’t file under that. And there wasn’t a scene or more than just me and a couple of friends listening to that stuff. I tend to gravitate to darker and atmospheric stuff, so I think that is what draws me to any music that fits that.

EL: As far as the underground scene goes, I’d probably rate you as one of the best producers out there in the scene. Your mixes are unique in that you accomplish a very hard dance floor attack but there are these layers of soft ambience in your tracks. Its like a perfect yon and yang and I think it sets you apart. Now that I’m done gushing I want to ask, what are some of your influences out side of the general industrial/electronic genres that you incorporate into your style?

CC: Thanks for saying that, even though I might not agree with you! Ha! Really the biggest influences on my work as Slighter are film scores. I think that’s where the atmospheric and ambient side of my tracks come from. Really enjoy Sci-Fi and strange films with great scores, that’s where I go to get inspiration to write again.

EL: What is your process when you sit down to start working on a remix.

CC: With remixes, I’m usually firstly deciding what way I want to take it, and that direction I get from the original song. If there’s something I think could go real 4-on-the-floor Techno, then I’ll go there. If it’s something I can do Drum & Bass crazy edits and glitch to, I’ll go there. Then the fun part is taking everything they give me, and fucking it all up into a new ‘palette’ I can make a new version with. I’m very big on incorporating much of the original, even if it is thrown through a 20 step evolution via sound design.

EL: Marry, Fuck, Kill: Mr. Goodbar, 3 musketeers, and the yellow m&m?

CC: Ha! I think all three are quite trash as far as candy goes. So I’d elope with a box of Nerds and GTFO!

(I would like to point out that Colin answered this incorrectly. The answer we were looking for was: Marry Mr. Goodbar, Kill the Three Musketeers, and Fuck the yellow M&M)

EL: I know you fancy yourself as a multi instrumentalist, what is your favorite instrument to play and what instrument do you think you’re the best at playing?

CC: I hate that term “multi-instrumentalist” because it wreaks in self aggrandizing. I’m a piss poor player of a lot of things, but I get instruments to bend to my will, so to speak that makes it artful. I guess I would say, I play a MEAN computer. 🙂

VOID Releases on June 4th

EL: I got a chance to listen to your new album (coming out June 4th btw) and I was pleasantly surprised. In general, how important do you think it is for an artist to evolve their sound?

CC: I think it depends on the musician, if you’re a performer and want to play shows and entertain your whole career, you have to be careful to not loose those fans who want you to ‘shut up and play the hits’ as it were. That’s not me at all. I’m of the side that looks at music as an art form, and as such my work ethic and style musically would be equated to watching a painter paint a painting. So in this sense, I find it very important to treat my art as evolutionary, as much as it is to hit on clever musical necessities, or formalities of electronic music for a dance floor requirements, I want to push my creativity with each new piece.

EL: What is your favorite piece of studio gear? Also, what’s a piece of gear that you regret selling?

CC: I’ve not been able to part with any of my gear! I always have that “oh you’ll need it for something” so I still even have my shitty Digitech pedals from high school. I think my favorite kit these days is everything that Ivo at Glitchmachines makes. Highly inventive plugins, makes for a lot of fun with sound design.

EL: I like to end my interviews with a desert island scenario question. So you’re stranded on a desert island, you have 3 albums, 1 movie, 1 complete TV series on DVD and an unlimited supply of 1 breakfast cereal. What do you pick

CC: The 3 albums would be: Dubnobasswithmyheadman by Underworld, K&D Sessions from Kruder and Dorfmeister, and Formless from Gridlock. Film would be: James Gunn’s Slither. TV series: X-Files because there’s an almost endless amount of those episodes. Cereal: Am I getting milk? Because if not, I’m going Chex, if I am, get me those Fruit Loops and I’ll be pretty content.

SLIGHTER drops VOID on June 6th, so you better keep your peepers peeled for it. Or Else

Bara Hari – Ugly on the Inside

Sam Franko a.k.a Bara Hari, brings us the video for “Ugly on the Inside”, the second single from her forthcoming EP “Dark New Day”. A song Franco says “was inspired by society’s use of constructed avatars as a means of modern interaction and communication.”.

The video cycles through various scenes of Franco showing off her impressive costuming skills as she portrays a pair of avatars, a warrior and an angelic winged persona that is representation of Icarus, in intermittent glimpses of what might be the “true” self. This persona is mostly viewed  in shadow, perhaps to signify that she is hiding behind the avatars that give her agency in worlds where she may not have the self assurance to tread.

Franco says the video was inspired by music videos of the 90’s like R.E.M.’s “Losing my Religion” which prompted her to construct the wings seen in the video. While also giving a visual nod to the lyrical theme of Icarus flying too close to the sun. 

As for the music.. once again, Franco delivers… this track kicks ass! Soaring vocals paired with a great rhythm and when that beat kicks in you know she means business! Lyrics like “feed me with your fast affection, Nothing you see means anything…” A clever turn of phrase inditing the vapidity of most of the trappings of internet culture.

Who cares how ugly we are on the inside when our avatars are so beautiful?

Watch the video and tell us what you think:
https://www.youtube.com/watch?v=cQ10dDe23o0

Dark New Day is set to release on May 21st, 2021

Nekromantheon – The Visions Of Trismegistos

Since 2005 my fellow Norwegians in Nekromantheon have made frentic metal that grabs you by the neck and pulls you right back to the 80s and the hey-day of thrash/death metal.

Nine years after their last album theyre back with The Visions Of Trismgistos, described as "bringing forth the spirit of old metal again" and its most certainly an accurate statement.

Throughout the half hour consisting of 8 tracks Nekromantheon shows that the spirit is alive and well with manic lead guitars soaring through bringing legends like Trey Azagthoth to mind immediatly along with classic albums by both early Sepultura and Morbid Angel. Are they reinventing the wheel? No, do they need to? Not really. While theres no shortage of self-proclaimed old school death/thrash bands out there it`s easier said than done to achieve not only the sound but also the atmosphere and vibe such a proclamation might suggest.

From the opening title track to the relentlessness of Faustian Rites and highly atmospheric Scorched Death, the pure mania of Thanatos Nekromantheon has definetly hit the nail on the head with this one. Recorded with mostly analog equipment at Chaka Khan Studio as well as other locations around Oslo this album feels like a lost classic from back in the day resurfacing, being rediscovered to finally achieve the well deserced praise.

Throughout the album we find references to Gnosticism in the lyrics, something that will only ever please me, while much of the lyrical content in this genre can too often be fairly copy/paste nonsense and the usual bad zombie movie description Nekromantheon delivers a touch of substance for those who wish to dig a little deeper and find out what theyre talking about. How serious the trio is about the contents of their lyrics I cant comment on but I do hope it`s more than just a show as that would check each point on my proverbial list.

Overall this is a gritty, pounding and fervent collection of songs. Short, sweet and to the point, as it should be without any meandering going on. Production wise Id say its perfectly balanced and hits the right spot for anyone looking for fresh metal in the vein of those ancient Gods of the 80s.

https://nekromantheon.bandcamp.com/