Friday 11/5 marks another Bandcamp day and I get to pour through a slew of amazing releases. Remember tomorrow all proceeds from sales on Bandcamp go directly to the artists who are in desperate need. We all need songs to fill our hearts in these days. Here are the ones filling mine.
MAN1K1N – Don’t Let Me Try – Brand new single from Boston shadowcrawl duo Man1K1n. Two ones to represent each of them. We have an upcoming webcast post with the act. This is a powerful song about personal loss Johnny E. Veil turned sonic and it really stirs the tendrils of emotion that suicide and mental health conjures for all of our lives. The percussion laid down by Cristian Carver is driving and precise, washing over in hurky jerky horror film atmosphere. Johnny’s vocals growl like a demon voice from within. I love the concept and how much genuine blood was poured into every word. This was an independent release but we have heard promise of an upcoming album ready to throw a match on this pooling shimmering gasoline.
Stabbing Westward – I Am Nothing – Brand new single from rockdustrial legends Stabbing Westward. I just saw them at Cold Waves in Chicago, not only have they not lost a step. This new material seems to add a layer of complexity and depth to everything they have been doing for decades. Chris Halls voice grows more powerful and bristling with clarity and violet laser focus. Add in production from the legendary John Fryer and a remix from Jim Marcus. I love the flurry of katana guitar slashes and cyborg samurai cadence. Stabbing Westward still finds a way to transport me back to my 16 year old bedroom and awash with emotions and glorious vampiric dark tones. COP continues to release the cutting edge of the growing Industrial Rock genre. SW is their flagship.
Carrion – Revenant – If you didn’t know S & S contributor Hide Tepes was a huge LA hard rock Motley Crue fan in addition to making experimental textural noise you will after this track. The hard and high energy strikes of the drums, the crunching metal intensity of the guitar riffs have a very Psalm 69 recklessness. The lyrics are delivered with a harsh chaos demon venom. There is something so powerful about hearing an artist get lost in the moment. This is not a performance, it is a summoning. Further energized with a remix by Texas band Dread Risks who add a further layer of tribal intensity. I will be deep diving this entire album as it unfolds. Hide lays out a track by track explanation below of this decent into ego destruction.
The whole album is going to be available to pre-order tomorrow for both CD and digital + doing a limited edition bundle where you get the CD of the new album, the cassette of the previous one as well as two patches.
Lyrics: Maggots crawl to kiss the feet of a new God Used and abused, to be disposed in the dark Sucked dry by the hordes of the revenants Another body in the grave of their shallow praise Die the death just to come back hollow Feral angels rise, ripe with decay. Pray to me, what you sow I will reap, Pray to me.
I Ya Toyah – Pray ( Stabbing Westward Remix ) – Chicago’s one woman army is back with a new remix from the previously discussed Stabbing Westward and their is nothing I don’t love about this song. The rises and falls of this high speed car chase give space and pacing for Ania to shine through city streets. her energy is a beacon that draws you in and fills you up every time you are near. Walter Flakus is a proven master of taking great vocal talent to it’s height. This remix makes me long for an Ania/Chris Hall duet. Make it happen.
WHITE NOISE TV – GENERATOR – Berlin band I have never reviewed before featuring: Oliver Staats, Bernd Abromeit, Lars Goehring. I really like the expansive opening salvo of high energy electronic sound. As the vocals come in they have a daring Peter Hook Revenge flavor. Melodic with a lashing edge. Production is top rate which is essential when blending the post punk vocal style and cascading EDM music. Great breakdown at the 2 minute mark to let the bottom drop out and stand on the hill in defiance. In general an impressive job of taking familiar ideas and stitching them into a fresh concept. I think the most ringing endorsement I can give this is I was three minutes into the first track and they had already won me over as a fan. Get ready to hear more about White Noise TV.
Bedless Bones – The Iron Bough – We already have a review posted of this album on Sounds and Shadows. My favorite band from Estonia on Cold Transmission. Set to release 11/25/21. Every time I take a moment to listen to BB I am always surprised I don’t think of them more. They have such a powerful and spiritual infused sound or organic soul with a lost age feeling. Kadri Sammel has one of those truly unique voices that stands out in a sea of similar postpunk/darkwave vocalists for their cadence and range. If you held a live wire up to Dead Can Dance or This Mortal Coil and shocked them with electric intensity, that would be the majesty of Bedless Bones. Cool green leaves dripping with rolling drops of water.
The Cult Sounds – Now i can say I was officially surprised by this cover. I think of St Louis The Cult Sounds of an edgy dangerous take on the post punk concept. The Moody Blues are a definite guilty pleasure of mine. This holds so true to the psychedelia beauty and romantic nature of the original. It also really shows off the talent and chops of the band in such a different vein than their amazing progressive album “Death Of A Star”
kid.saint.nothing – Disgust – Ok I know this is a friend from Kalamazoo, but I am always astounded by the truth and delivery of Reggie. An exceptional talent in the scene returning once again with a passionate fury of raw veined exposure. It’s music that has that fearless, nothing to lose realness that can’t be faked. Pounding low fi metal edge with poetic soulful lyrics that ring clear beyond the crunching chaotic distortion of the music. I love the drum transition from a backbeat hip hop into throbbing metal. Reggie’s ability to flow seamlessly between styles while exposing their truth of being always reveals a new aspect with every album. More people need to know about this. The Pixies cover sounds more like the original plot of the Pixies than the Pixies do .
The Wake – Emily Closer (Kill Shelter Remix) – New remix of legendary Ohio goth band The Wake by our dear friend Pete Burns (Kill Shelter). This song is such a driving dark jam, and Pete drives the car right into a crystal palace of reflections and crashes a dark fairytale ball. Splashes of keyboard color shine light on a dark canvas of surrealism. This track is welcome at my goth prom anytime.
Aesthetic Perfection Feat: Isaac Howlett – Save Myself – Here we have two of the top vocal talents in the modern scene teaming up to create something of staggering beauty. Empathy Test and Aesthetic Perfection share a lot of mutual space, both blending the lovely and pleasing with intense emotion to create a full pallet of human experience in song writing. They also couldn’t be more different stylistically in how they achieve this effect. This song really told a story to me, not just in the music and lyrics present. In the delivery, tone, and cadence that they volleyed then harmonized. Almost as though the perspective of what they were singing was shown through a alternate refraction. Plus it is so earth shattering pretty it made me warm inside. Musically I felt it swung more to the AP perfection side of the spectrum, but the vocal performance highlighted the contrast of two top level artists. I hope this is just the start of possible collaborations. I fully expect this will rocket to the top of the dark scene.
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