The definition of Carrion is “the decaying flesh of dead animals” and morbid as I am that immediately peaks my interest. Enter the world of Carrion and subsequently the worlds of Swansect, FTMOB, and Missfit Toys.
HH: First off, feel free to introduce yourself and give us a quick summary of your artistic work and vision.
C: While names are inherently meaningless for this instance we can use the moniker Hide Beliya`al. My work and vision is one and the same as, in my opinion at least, is of absolute necessity. In more direct terms however I could describe it as an expression of my experience on earth in every which way.
HH: So you’re an extremely prolific artist with 4 active projects currently: Carrion, Swansect, From The Mouth Ov Belial, and Missfit Toys. Do you ever experience burn out? What keeps you inspired?
C: I guess I do in short bursts but I usually don`t let it stop me if there is work to be done. As for what keeps me inspired, this is what I`ve done my entire adult and teenage existence, it`s literally the only way of life I know so it`s quite a natural state of being at this point in time. I suppose I have a wound overflowing with various substances, I can`t stop it as I`m not in control here. As far as MissFit Toys goes it`s my first time being in a full on band with other people in a long while and it`s not something I would do if it wasn`t for me finding some sense of value in both the outcome of it as well as the people I surround myself with. I also like that it enables me to take a small step back and not have to be the one leading it at all times, I originally started out as a bass player so I never purposely went for the frontman role but through the years found myself there regardless. MissFit Toys also lets me explore a side of industrial I generally have very little interest in beyond that band in particular. It`s the only band I currently perform shows with, at least that was the plan until the horsemen arrived.
HH: What first compelled you to dedicate yourself so fully to your art? Can you talk a little bit about your song writing process?
C: I never quite understood how some people could take something so fucking visceral as art and the creation of something out of nothing as merely a hobby. I suppose it`s a sign of the times we live in but I digress..There was never a moment where I made that concious decision, I always approached this with a sense of seriousness to it. Even way back when I started my first few bands I`d find myself in a situation where I took it “too seriously”. While others may not mind skipping a rehearsal in favour of some other activity I saw this as lack of dedication which eventually led me to abandoning the idea of working with others for a long time. My songwriting process is quite abstract as most creative processes tend to be. Lyrically I don`t feel like I`m writing them as much as I`m simply dictating, taking notes of the things I`m told and shown by something I couldn`t possibly pretend to understand. There`s definitely a spiritual element to the process.
HH: Does it hurt your vocal chords to scream like that?
C: Haha, not at all. Of course if it`s been a while I might need a few minutes before I`m there so to speak but it`s not a matter of pain. I have however ended up vomiting after recording but that`s more due to pushing it as much as possible for a prolonged period of time.
HH: When I think of Norway I cant help but think of corpse paint, music videos recorded in the dark forest, and indecipherable logos. Do you draw any influence from black metal in your work? Do the goth, metal, and other scenes overlap at all?
C: Where I currently live is what I imagine people see in their minds when they think of this place. I live in kind of a middle of nowhere place surrounded by trees. I do take alot from black metal yeah, I`m more inclined to listen to rock and metal than any industrial honestly. As far as scenes overlapping that would require a scene to exist in the first place which it doesn`t really in that sense although just in terms of the people I personally know who are, let`s say darkly inclined, yes that seems to be the case.
HH: Your work very often references Christian themes, e.g. heaven, crosses, salvation, sanctity, and fire. Were you raised religious? How do these themes play into your work?
C: I wasn`t raised as anything in particular but I`ve always had a natural pull towards the more spiritual aspects of existence. I grew up in a house I`ve later been told is built upon a viking graveyard in a tiny place just 20 minutes from where it`s said Christianity first came when arriving to Norway so perhaps that`s to blame? Religion, or spirituality rather does play a big part. Carrion is in its simplest form to be seen as a diary where each entry is a retelling of a direct experience or thoughts and feelings related to the topic at hand. I tend to prefer using a highly symbolic language, if one was to dive deep one might discover a thing or two, the veil is thin once you take a proper look. On a more mundane level however I`d like the listener to not be forced into thinking what the song is about, preferably you can find your own meaning, maybe something you could even relate to on some level. I am human after all and with that it`s no surprise things sneak in there, things we all experience such as heartbreak, joy etc
HH: You split time in between an isolated village in Norway and Southern Florida. Do the contradicting landscapes inform your work at all?
C:Not necesarilly in the way you might think. I`m not one of those people who needs a certain setting to write a certain kind of music. I`m perfectly able to write a Carrion song under the scorching Florida sun as I am in the foggy Norwegian woodlands.
HH: What does the future hold as far as your music goes and what can we expect from you in the near future?
C: The most recent event would be the release of the Carrion single “The Blood Ov Saints”. I do plan to follow it up with a second single called “Until The Reaper Comes”, which is one of the heaviest songs I`ve written and it feels like a good snapshot of how I feel regarding the current apocalypse. There is also an all modular album created under the moniker of From The Mouth Öv Belial, it`s mostly improvised instrumental pieces except for two tracks which has vocals done by the entity known as AGGRESS. I may or may not gather the results of the current writing sessions and release as an EP [or an album if there is enough material] though I`m rather hesitant about making any definite statements about it as I`d rather not say something now only to have it not happen. Fans of MissFit Toys may know this already but we do have a new album in works as well as a single”Blithe Din” which will hopefully be released soon along with remixes by variety of great artists.
Stream Carrion’s “The Blood Ov Saints” here:
facebook.com/officalcarrion instagram: @carrionkvlt personal IG: @Mordsengel officialcarrion.bandcamp.com fromthemouthovbelial.bandcamp.com
This will be my third review of the Steven Archer project Stoneburner. I’m lucky to be in close contact with Steven who is a bit of a pioneer not just in music and art but also in his interaction with fans. When it comes to allowing you an inside glimpse behind the curtain of his artistic process and an active effort to engage with thoughts and questions he sets the standard. As someone who has followed closely the releases of this project I continued to be impressed by the way each offering reveals a new head of this hydra breathing a new kind of energy. Red in Tooth and Claw does this with a rolling thunder of napalm. In parallel to April’s release Massdriver , this EP follows the story of a world destroyer. This time taking the form of an enormous rampaging wolf.
This record gets back to the core concept of industrial sound for me. It is heavy breathing machinery powerful and hydraulic. I feel the struggle of two clashing forces. The rampaging fiery beast, and the indomitable will of the modern world. Building sounds and textures on top of each and releasing the tension at that essential moment are trademarks of Stoneburner. I feel the fresh element here is how clean and isolated each of those parts are as they fit into the world that was created. Instead of a blending buzzing chaos, here my ear is drawn to shining aspects, only pulling back to see the whole picture in revealing moments of power. It is music that sounds like my mind would process data.
Red in Tooth and Claw – Open with the teeth and meat. That’s just what this EP does. The creature stalks forward, slow and deliberate. Waiting for the moment to charge. Stevens vocals ring with a clarity until those slashing claws of distortion crush down on concrete and feel the crumbling buildings give way beneath their weight. Just like an attacking animal the onslaught is furious and abrupt drawing back to view the damage.
The Wolf World – Here the beast is running fast, closing the distance, in full flight or fight mode. You can feel the muscles, and sinew expanding and contracting. The wind rushing through fur. The hunger on the breath. The vocals build in chanting cadence with the pounding guitar in a Psalm 69 feel. Unbridled aggression and boundless freedom.
And All Things End – Here the heavy breath of post battle. I see a broken field of bones and ruin. A chance to observe the destruction of a world and the birth of a new one. The simple but powerful beat change really changes the tone and matches the vocals with a more melodic and introspective quality.
My Love is Never Ending – I love the change up to a dance beat feel. Again taking ideas and sounds which are familiar in old school industrial. Just taking that armor plating and giving it spikes and flamethrowers. This song has what i think of as night driving power. That song you put on when you are rolling down Woodwood avenue in Detroit at 1am with the window down feeling the wind hit your face. It’s a drastic break from the other songs on the EP and one that adds a needed contrast. Something to sharpen the other edges.
I’m Not Done – Who is the Alpha? What is made of cloth? How do you say you’re sorry? And there’s nothing to be afraid of
This is a cover of Swedish band Fever Ray off their self titled record from 2009. It’s a powerful closer where the drums have an intricate use of sounds that hold melody beyond the percussion. Steven uses a seldom heard vocal style with an almost Peter Gabriel quality. For this in spite of being a cover it ended up being such a powerful track for me.
In closing Stoneburner continues to find a way to make me more of a fan with every release I hear. This is no small feat. At the rate Steven is putting out art and music the true fear is stagnation. So far I see nothing but a boundless energy to charge in new directions at full steam. I feel envious whenever I hear a new Stoneburner release because it seems to never feel like the last offering was enough. Always reading, researching, refining, growing, that hunger inside Steven to find a new story and a better way to feel it never gets quenched. As long as that keeps being true, I will keep telling you that you need to buy this record. You need to buy this record.
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.
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.
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 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