Ring The Bells For It Is Bandcamp Day Once Again!

I make this speech a fair amount but bandcamp is the only distributor of music that seems to give two shits for new bands. On Friday once again they are waiving their own fees to give all proceeds to the artist. To be clear the rates they charge are extremely fair. However if you have a band you love that you want to show support for now is the time. I ask our Sounds and Shadows family to shout out what we will be looking to buy on Friday.

Ken (that’s me)

Blak Sunday – Spooky fierce old school bat cave death rock from Indianapolis. Crunchy Riffs and Misfit punk edge by goth members of our community that are POC. What is not to love about all of this. It’s hard and dirty full of fangs and leather. What’s not to love? This is on my must have list.

https://blak.bandcamp.com/album/blak-sunday

Cold Transmission Music (Zeitgeist 13) – Lucky number 13 of the glorious compilations from Frankfurt Germany’s Cold Transmission. 33 songs for 4 euros that spins the whole wheel of the dark music scene. it has lots of their label bands which are always top notch. As well as several other offerings from around the world. This is by far my top value pick.

https://coldtransmissionmusic.bandcamp.com/album/zeitgeist-vol-13

Eva X – From the northern lands of Alberta comes shadow queen Eva X. This album has been on my list to pick up for a while now and Friday is the day. Loving these crashing hand drum sounds and her swirling Miranda’s Sex Garden wispy vocals. That spot on blend of beauty and sinister intention.

https://eva-x.bandcamp.com/album/electrowoman

Daddybear– These are troubling times, sometimes I need a wall shaking, butt thumping, dance party. Matt Fanale of Caustic/Klack has brought that once again. It’s driving, sexy , and guarantied to make your apocalypses shake with the sweaty masses until oblivion. Also featuring the heavingly vocal stylings of grabyourface.

https://daddybear.bandcamp.com/album/ebdsm

Dead Agent – Ed Finkler once again unleashes an assault of mechanical disaster on the unsuspecting world. 24 tracks of remasters and remixes and remixes including a straight inferno from Joy Thieves. It makes me want to build a mech and fight stuff.

https://deadagent.bandcamp.com/album/fight-like-a-robot-v2

Stoneburner(Soundsystem) Glorious new album of covers of Industrial greats like Chemlab/Covenant/Gary Numan/Ministry/Massive Attack. Also some new versions of the last few albums. If you read this page you know of my deep admiration for the art of Steven Archer. This album gives a chance to hear some of what Steven pays homage too. It’s beautifully crafted and a bit of a love letter to what inspired him. Plus it thumps.

https://stoneburnerofficial.bandcamp.com/album/stoneburner-soundsystem-kompromat-1

Katy’s Picks

Backxwash This occult hip-hop album got me really excited. I hadn’t heard of this artist before, but I loved how the genres met.  The latest album, “God Has Nothing To Do With This Leave Him Out Of It,” is a huge, symphonic level hip-hop album that scratched the pop sound and emphasized a witchy feel. 

https://backxwash.bandcamp.com/album/god-has-nothing-to-do-with-this-leave-him-out-of-it

Fearing – “Shadow” was released in early April and should get some recognition. This album is dreamy and poppy with a huge wash of reverb over top. There’s passion in each track with a familiar ’80s tone. 

https://fearing.bandcamp.com/album/shadow-2

New Haunts– This UK artist is making waves and just released a full-length album today. As Ken would say, “it bops!” The new album, “Fight/Flight” will make you dance from beginning to end. 

https://newhaunts.bandcamp.com/

 

Adrian’s Picks

 The Wraith – (Gloom Ballet) – LA Deathrockers The Wraith released this album late 2019, November to be exact and I have not stopped listening to it ever since. I found this band through having been a fan of Lost Tribe, singer Davey Bale`s previous band. Gloom Ballet serves excellence on each track which during these goth revival times is few and far between as the revival brings a certain amount of mediocrity with it.

https://thewraithsl.bandcamp.com/releases

Jessica93 – (Guilty Species) Jessica93 is a one man band from France, this album in particular is one I listen to on a nearly daily basis, it`s filled with rhythmic, catchy songs that just gets stuck in your head and forces you to listen to it. This album in particular leans more towards post punk although Jessica93 seems to hold no regard for genre and just do what they feel which is a trait I greatly value in artists.

https://jessica93.bandcamp.com/album/guilty-species-2

The Cult Sounds – (S/T) The self titled debut album from The Cult Sounds is yet another of those gems such as Guilty Species and Gloom Ballet where you`ll find great variety in each track, ranging from classical post punk but without feeling like tired repetition to more mellow ambiance.

https://thecultsounds.bandcamp.com/album/the-cult-sounds

Hide – (Hell Is Here) Hide is to me one of the most important bands within industrial right now. Utilizing found sound, field recording and old school sampling in modern ways all wrapped with a political message they stand out amongst the crowd and yet can not be compared to anyone.

https://hide3.bandcamp.com/album/hell-is-here

 

 

 

 

 

 

Sounds and Shadows Podcast #4 Featuring Dan Milligan of The Joy Thieves

https://soundcloud.com/user-616425034/the-joy-thieves-interview

This interview was a wonderful experience. The Joy Thieves are a glorious super band that has put together a who’s who of Chicago Industrial that we strong armed Dan into letting us join during the podcast. He is creating a creative oasis for artists to shine and find a voice. I hope you enjoy listening as much as we enjoyed getting to know him better.

https://drabmajesty.bandcamp.com/

https://hide3.bandcamp.com/

https://iyatoyah.bandcamp.com/

https://adorationdestroyed.bandcamp.com/

https://armalyte.bandcamp.com/album/the-joy-thieves-this-will-kill-that

Take in this freaking line up : Chris Connelly: solo artist. Vocalist for Fini Tribe, Revolting Cocks, Ministry, Pigface, Murder Inc., Damage Manual, Acid Horse, Cocksure, Bells Into Machines, and more. Author. Poet. Joy Thief.

Dave Suycott: former drummer for Stabbing Westward, The Machines of Loving Grace, Spies Who Surf, Razorhouse, Verbow, and more. Joy Thief

Louis Svitek: guitarist for Ministry, Pigface, Mindfunk, Zoetrope, Project 44, and more. Joy Thief.

Ania Tarnowska: one woman industrial army for I Ya Toyah. Dog lover. Joy Thief.

Eric Liljehorn: vocalist for Ravens and In Europe Without a Jacket. Joy Thief.

Mike Reidy: vocalist/programmer for Chicago industrial rock band, Worm (The World Organization of the Righteous Movement). Vocalist for Now I’m Nothing. Joy Thief.

Matthew Clark: guitarist/vocalist for Mary’s Window. Joy Thief.

James Scott: bassist/vocalist for She Rides Tigers and Matthew. Owner and engineer at Populist Recording Studio. Joy Thief.

Dan Milligan: producer, drummer, and songwriter for Drownbeat. Drummer/programmer for Mary’s Window. Joy Thief.

Michael Allen Gould: vocalist for Spyderbone. Vinyl enthusiast. Joy Thief.

John Fryer: musician, producer, mixer and remixer for Black Needle Noise, Nine Inch Nails, Depeche Mode, This Mortal Coil, White Zombie, Stabbing Westward, Gravity Kills, Jesus Jones, Silver Ghost Shimmer, Yaz, Peter Murphy, etc. etc. etc. Legend. Joy Thief.

Lana Guerra: one of a kind artist, fashion designer, performer, and owner of CrudeThings.com. Joy Thief.

Gordon Young: guitarist for Children On Stun,Dream Disciples, and too many others to list. Mastering engineer. Sound designer. Writer/producer/arranger/remixer with Gary Numan and members of The Prodigy and Marilyn Manson. Modular synth geek. Joy Thief.

Howie Beno: keyboardist, producer, mixing engineer, and remixer for Ministry, Black Asteroid, Silver Relics, Depeche Mode, The Red Hot Chili Peppers, Mary’s Window, Sheep On Drugs, Skrew, 13MG, Blondie, and many more.

Mike Czarnik: bassist for Mary’s Window. Joy Thief.

Taylor Busby: guitarist/vocalist for Purple. Joy Thief.

Mimi Wallman: singer/vocal architect for ONO, Ampyre, and Host Body. Joy Thief.

Andy Gerold: multi-instrumentalist. Former bassist with Marilyn Manson. Guitarist with Ashes Divide, 16VOLT, There Is No Us, and more. Joy Thief.

Geoff Matson: solo artist. Joy Thief.

Jeff Harris: guitarist for Mary’s Window. Joy Thief.

Matt Mercado: singer/guitarist/songwriter/producer for Mindbomb, Daisy Chain, Supermercado, Pivot Man, and more. Owner of Sonic Palace Recording Studio, Chicago. Joy Thief.

Katzen Hobbes: bassist with The Human Marvels. Sideshow performer at 999 Eyes Freakshow. Joy Thief.

Bradley Bills: drummer/songwriter/leader of Chant. Drummer/percussionist for Evil Mothers. Has played and/or toured with KMFDM, My Life With the Thrill Kill Kult, Skatenigs, Die Krupps, and more. Joy Thief.

Dave Bachta: guitarist/vocalist/songwriter for Lovelies Bleeding. Joy Thief.

Laura Glyda: solo artist. Joy Thief.

Jaysun McBain: vocalist/instrumentalist/songwriter for Murmuur. Joy Thief.

Matt Noveskey: bassist for Blue October. Joy Thief.

Marcus Eliopulos: guitarist for Stabbing Westward. Joy Thief.

ANTI MUSIC : EXAMINING THE CORPSE OF THE EXPERIMENTAL ROOTS OF NOISE.

I`m well aware that even within the alternative scene noise, power electronics, death industrial and all such forms of music is quite a nichè interest.
However it is an interest of mine, let me explain why;

Just like punk, noise as a genre had a DIY attitude and little to no requirement for conventional talent. Punk was, in my opinion, still firmly rooted in the rock world and that`s where noise differs greatly.

The onset of noise as a genre was just that, noise, it was a realm where anyone could use anything to express themselves in a (Anti) musical way. Self built “instruments” , found sound/field recordings, heavily processed samples and equally DIY ethic splattered visuals to accompany it all.

Bands such as Einsturzende Neubauten enjoy legend startus these days for their use of power tools as instruments and leaving stages cloaked in an inferno of both sound and actual flames. Noise of course did not necesarilly start with Neubauten but they`re probably one of the most known examples hence why I chose to reference them. Let`s not forget that electronic music equipement as is per today the most common tool within the genre was still in a quite primal state compared to modern times, and yet, incredible things were created from what was available.

These days when scouring for new artists the most common thing you`ll find goes something like this:

Black and white collage work, often heavy use of morbi, macabre imagery, photos from crime scenes, BDSM themes, serial killers and the occasional occult symbols making the album cover

The “music” itself consisting of long, drawn out, distorted and commonly monotonous synth sounds often clocking in at no less than 8-10 minutes long topped with what may be generally considered to be “vulgar” and “offensive” texts yelled/screamed and yet again layered in distortion and reverb effect units.

Back in the 70s and 80s when such acts first popped up they surely had an impact, even if only within the confines of their local scene as this has never been something that really broke through the underground.

Today in 2019 it`s a different story, by now it seems most things have been done to death and then done again and this glaringly obvious when exploring smaller scenes such as this one.

As the title of this article suggests we are here to figure out what happened to the experimental nature of this genre, I could easily extend this into the industrial genre which of course is closely related and in certain, especially earlier examples of the genre the overlap is so big you might not even be able to distinguish the two.

But let`s save my industrial rants for another time and get to the point shall we?

As previously established there are certain similarities between punk and noise and yet they both seem to end up the same place; stagnation, repetition and what I`m tempted to call hypocrisy.

Why is it that these things that constantly spout out something about having no rules are always the ones to end up the biggest victims of conformism?

And yes, I understand and agree with the thought that certain elements must be in place for something to be considered a specific subculture and genre, something that seperates it and makes it exactly that subculture/genre, but does that mean we have to live in the proverbial purgatory?

The droning, monotonous and distortion heavy music with screamed vulgar texts described earlier has come and gone, or rather it came and it just infected everything like a plague, and not the good kind.

These days you can easily make or buy what is known was “noise generators’ where all you have to do is flip a switch and hit record and within 50 minutes you will have your very own noise EP consisting of what is more or less the same 10 minute long song over and over.

To me, having such tools available feels like cheating, this was an experimental genre and such a tool would completely take away any sense of experimentation. Even if you were to create similar sounds using hardware synthesizer at the very least you would get the experience of creating it, sculpting and molding it with your own hands, carefully adjusting the knobs and pushing the keys untill the desired sound is achieved.

Now, these noise generators are at the very least still within the hardware realm, it would of course be much easier and cheaper to just download a pirated version of a DAW and simply load up a VST.

I myself have slowly moved away from softsynths, trying to not rely on my DAW as anything more than a tape recorder. Im not quite where I want to be just yet but I would say Im making good progress, I also spend several hours a day (and night) crafting my own samples from field recordings, modular synth sessions or whatever I may think of there and then.

Ive slowly come to realize I may have a bit of an obsession about realness, I need things to be real, I need to be able to say that I play this and that part of a song by hand or at the very least created the samples used to program it all. Its a blessing and a curse.

It may sound a tad dramatic but at times I feel its nearly insulting to the pioneers of these highly experimental genres wether that be noise or industrial, to just take the easy way out, just click around the screen or make the absoloute most basic variety of noise/power electronics and preach some nonsense about how its oh so confrontational, bending ethics and morals and purposelly provoking the “sheep brained masses” by the use of fascist imagery.

If youre one of those Im sorry (not sorry) to tell you that you`re gonna have to step your game up. Fascism has been done, the world is seemingly chronically engulfed in an inferno of horror and plagues of a million kinds, these tactics are done, played out, absoloutely and completely useless in the face of the true and modern world.

As we crawl towards the end of all this I wantto add that I in no way think anyone is wrong or less-than for liking and genuinly wanting to create that exact form of noise I earlier explained, if that is truly what you enjoy and you get something out of it wether it be listening to it or making it then great! Keep going, keep doing what YOU enjoy and ignore me and aynone else who may feel differently. Individuality is key. Experiment, get weird, oppose logic, set things on fire, do things and create things that your friends and family would shun you for.

I`ll leave a small list of suggestions consisting of releases within the noise genre that I find to be interesting for one reason or another.

Lingua IgnotaCaligula (2019)

PharmakonBestial Burden (2014)

HideHell Is Here (2019)

The Grey WolvesExit Strategy (2017)