Category: industrial electronica

Throughout this site’s eight plus year history I’ve written a lot about the ridiculously prolific New York-based producer, DJ, remixer and longtime JOVM mainstay Rhythm Scholar, and as you’ll likely recall he has received attention for slickly produced, funky as hell, crowd-pleasing mashups and remixes of classic soul, funk, soul hip-hop, New Wave and others.  Interestingly, over the past year or so, the longtime JOVM mainstay has increasingly employed the use of live instrumentation to his remixes; in fact, his latest remix finds him taking on the Depeche Mode classic “Never Let Me Down Again.”

Featuring Jason Spillman (bass), Angus Mashgyver (guitar) and samples of Heavenly Music Corporation and Cliff Martinez, the remix retains Dave Gahan‘s imitable vocal but places it within a slightly more up-tempo setting with layers upon layers of arpeggiated synths, thumping beats, a dance floor friendly break, and ambient flute and other instrumentation to bolster the song’s melody in the song’s quieter moments. Live bass and guitar give the song a muscular and funky heft. But while pushing the song from ambient and industrial electro pop to thumping, industrial-inspired house, Rhythm Scholar manages to retain the most important quality of the song — it’s brooding, emotional quality.

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New Video: JOVM Mainstay Boys Noize Teams Up With Steven A. Clark on an Industrial Take on Adamski and Seal’s Classic “Killer”

Throughout the course of this site’s eight year history, I’ve written quite a bit about Berlin, Germany-based JOVM mainstay producer, electronic music artist, DJ and Boys Noize Records label head Alex Ridha, best known as Boys Noize. Now it’s been a while since I’ve personally written about Ridha, but he’s been remarkably busy as he’s released 2016’s Mayday and has spent the past couple of years collaborating with a diverse and impressive array of artists including Lady Gaga, 03 Greedo, A$AP Rocky, RL Grime and Steven A. Clark.

Interestingly enough, while working with Clark on his recently released Where Neon Goes to Die, Clark and Ridha bonded over a mutual love and appreciation of Seal and Adamski’s “Killer,” an acid house anthem that dominated European charts in 1989, appeared on Seal’s eponymous 1990 self-titled debut and covered by George Michael in 1993. Clark’s and Ridha’s cover hews closely to the original but with a punchier and harsher, industrial take on the house music classic. It’s subtly 

As Ridha says of the cover, “Being a 90’s kid, I kind of grew up with this song which later became one of these tunes I’d play out at the end of the night. When I met Steven and heard his voice for the first time I immediately thought of that track and the idea of doing a cover version was born. It was initially just for fun, but it turned banging and lit the dancefloors wherever I’d drop it – so here I am sharing my industrial KILLER.”

Directed by long-time collaborator LIL INTERNET, the recently released video is a remake of the original video, shot at Berlin’s c-base, known for being “the mother of all hackspaces,” with the bulk of the video shot in a space referred to the “airlock,” with the members of the c-space crew referring to themselves as a Space Station. 

New Video: JOVM Mainstays Sextile Release an Industrial New Wave-Inspired Banger

Last year, I wrote quite a bit about the  Los Angeles, CA-based post-punk act Sextile, and as you may recall since the act’s inception in 2015, they’ve earned a devout following, as a result of an explosive live show and non-stop touring as both as an opener and as a headliner with the likes of A Place to Bury Strangers, Ty Segall, Thee Oh Sees, The Soft Moon, Ought, ADULT., The Chameleons, Modern English and others. Adding to a growing profile, they’ve also played sets at Bersekertown, Cloak & Dagger and Levitation Festivals.

Interestingly, over that same year period, the act has gone through a massive lineup change that finds the act writing, recording and performing as a duo featuring Brady Keehn and Melissa Scaduto. Naturally, as a result of the lineup changes, Kehn and Scaduto have radically reinvented their sound with a move towards synths with minimal use of guitar; in fact, on their recently released EP, EP3, the duo use a KORG MS-10 sequencer, a Fender Stratocaster, a LinnDrum and various other percussion-based instruments to craft a decidedly industrial synth-based sound. Additionally, the duo cite futurist Luigi Russolo’s The Art of Noises as an influence on their approach, as their sound and songwriting is meant to evoke and mirror the chaos and brutality of the industrial era. EP single “Spun” was centered around explosive squealing bursts of guitar, scorching synths, thumping beats, industrial clang and clatter and a motorik-ike groove, and it some way the song found the band meshing  the aesthetics of Gang of Four and classic DFA Records (i.e., early LCD Soundsystem and Echoes-era The Rapture) while hinting a bit at Bay City Rollers‘ “Saturday Night,” thanks to its punchily delivered vocals.  “Disco,” EP 3’s latest single may argaubly be the most dance floor friendly song they’ve ever released as it sonically brings Yaz’s “Situation,” New Order’s “Blue Monday” and Ministry to mind, as it’s centered around a production of layers arpeggiated synths, industrial clang and clatter and a motorik groove — but lyrically, as the duo note,t he song’s lyrics focus on the lack of time to do anything productive or constructive, DIY spaces being shut down, gun control and constant media propaganda in a way that evokes our increasingly cynical, paranoid and uncertain world.  Civilization as we know it is collapsing before our eyes, and we might as well dance, dance, dance, dance, dance.

Keehn and Scaduto directed the video and as they mention in press notes, visually and aesthetically, the slickly shot black and white treatment was deeply influenced by the New German Wave.

 

elegant slims is a rather mysterious, up-and-coming electro pop artist, who quickly received attention with the release of her critically applauded debut single “Not Human.” a track that drew comparisons to the likes of Grimes, The Knife and Ladytron among others — and for collaborating with emerging visual artists to produce the artwork for her material. Her second and latest single “Hemisphere” is an eerie and atmospheric bit of synth pop centered around elegant slims’ ethereal vocals, fuzzy and arpeggiated synths, some industrial clang and clatter and a soaring hook that while recalling Depeche Mode and others manages to possess a cinematic air.

Continuing her collaboration with emerging visual artists, elegant slims teamed up with Norwegian painter Linda Syvestan, who created artwork that’s stylistically reminiscent of Edvard Munch’s The Scream.

 

 

 

 

 

 

New Video: JOVM Mainstay The Soft Moon Returns with Stark and Unsettling Visuals for “Like A Father”

Over the past few years, I’ve written quite a bit about the Oakland, CA-based singer/songwriter, producer, multi-instrumentalist Luis Vasquez and his solo industrial/darkwave/post-punk recording project The Soft Moon, and as you may recall Vasquez’s latest Soft Moon album, Criminal is arguably one of the most confessional and deeply personal albums he has written and released to date, as the album’s material thematically focuses on a man at war with himself, battling with self-hatred, insecurity and self-entitlement — with an underlying fear that he’s quickly transforming into the type of person he despises. Now, back in March, I wrote about the brooding and starkly atmospheric “Give Something,” a track that Vasquez explained in press note sis about his inability to reciprocate love and tenderness to another person. “Having no control over the constant urge to sabotage all things that are good for me, there is irony and frustration in knowing that in the end, the impossibility of love is what ultimately will save me from myself,” the Oakland-based singer/songwriter, electronic music producer and multi-instrumentalist says in press notes.

Criminal’s latest single “Like A Father” is centered around an abrasive and murky industrial production that brings Pretty Hate Machine and Downward Spiral-era Nine Inch Nails and Ministry to mind, as it features thumping, tweeter and woofer rattling beats, industrial clang and clatter, thick and arpeggiated synths and strummed guitar chords played through distortion and other effects pedals, and while the song is dance floor friendly, it churns with the inner turmoil of  man figuratively — and perhaps at points, even literally — wrestling with himself and his own demons, and losing quite badly.

Directed by Kelsey Henderson, the recently released video for “Like A Father” is comprised of a series of rapid-fire edits that shift from a brooding and angry man looking at himself in a carnival mirror before switching to the same man in a garage bag struggling to break free from his physical (and emotional) confines. Much like the accompanying song, the video is unsettling and leaves a lingering presence.

New Video: The Stark Sounds and Visuals of The Soft Moon’s “Give Something”

Luis Vasquez is an Oakland, CA-based singer/songwriter, producer, multi-instrumentalist and creative mastermind behind the critically applauded industrial/dark wave/post-punk recording project The Soft Moon. Vasquez’s latest Soft Moon album, the recently released Criminal is reportedly one of his most confessional albums he has released to date, as the material is written through a stark lens of shame and guilt, in which the material thematically focuses on a man at war with himself, battling with self-hatred, insecurity, self-entitlement paired with the fear of those things transforming him into the type of person he normally despises.

Criminal’s latest single is the broodingly stark and atmospheric “Give Something,” a track that pairs his falsetto with thumping beats, razor sharp synths and industrial clang and clatter. Interestingly, as Vasquez explains in press notes, the track focuses on his inability to reciprocate love and tenderness to another person. “Having no control over the constant urge to sabotage all things that are good for me, there is irony and frustration in knowing that in the end, the impossibility of love is what ultimately will save me from my myself.” It’s a plaintive and gut wrenchingly urgent call for help from a deeply troubled, emotionally damaged yet incredibly self-aware person.

Directed by Kelsey Henderson and featuring video effects and color by Victoria Keddie, the recently released video for “Give Something” focuses on a split screen throughout — one the left, a topless woman with her back to the screen and a couple seemingly in the middle of intense coitus, with the same woman from the left hand side grabbing and scratching the back of her lover with a desperate, painful grip that leaves marks. At points the visuals go through stuttering visual effects that on one level makes it look as though the woman may be abusing herself  — or her lover — out of selfish motivations.

New Video: Two Renowned Barcelona-based Electronic Music Scene Vets Release Ominous Visuals for Murky and Industrial Debut Single “Tell Them”

Semiotics Department of Heteronyms (SDH) is the new recording project of two key figures in Barcelona‘s synth wave/industrial scene — Andrea P. Latorre and Sergi Algiz, who are co-founders of renowned Spanish label  C¯njunt¯ Vac̯, as well as members of post-punk act Wind Atlas; however, SDH finds Latorre and Algiz heading towards a decidedly pop-leaning direction sonically while thematically, the duo’s latest project is centered on fiction, make believe and feigned personalities — namely: how fiction is embodied, what fiction really is, and so on.

Interestingly, the Spanish duo’s latest single “Tell Them,” off their recently released digital-release only EP Tell Them while superficially being synth pop finds the duo nodding at cold wave, post-punk, and early house and techno as they pair shimmering yet chilly arpeggiated synths, propulsive, industrial-like drum programming, razor sharp and rousing hooks with Latorre’s sultry and soulful vocals in what may arguably be the most sensual and dance floor friendly single they’ve released to date. Unsurprisingly, with the release of their two previously released singles, the members of SDH have built up quite a bit of buzz as they’ve already opened for artists like Marie Davidson and Merchandise and have played at the Swedish darkwave festival Kalabalik PÂ Tyrolen.

Fittingly shot on grainy VHS tape, the recently released video for “Tell Them” features the duo broodingly walking down dim, late night European streets, emphasizing the song’s murky and ominous air. 

New Video: SSHH Returns with a Club Banging Industrial Electronica-Influenced New Single Paired with Trippy Visuals

Comprised of Bondi, Australia-born, London UK-based Sssh Liguz (vocals) and Zak Starkey, the son of Ringo Starr, a multi-instrumentalist, best known as a touring drummer for The Who and Oasis (guitar), the London-based electro punk duo SSHH received attention with the release of their 2016 debut effort, Issues, which featured the duo collaborating with some of rock’s most renowned rhythm sections, including members of The Sex Pistols, Mott the Hoople, the backing bands of Marilyn Manson and Peter Tosh — to benefit charity.

The propulsive, industrial techno-like single “Rising Tide” which features heavily arpeggiated synths with thumping, tweeter and woofer rocking beats and an infectious hook is the duo’s first bit of new material since Issues and the club banger was born, as Liguz told Earmilk “from a fiery argument” while “driving in a heavy rainstorm.” “I remember being furious beyond belief. Not only because we were having a huge fight, but because even though we were acting like assholes to each other, I couldn’t stop thinking how much I loved him,” Liguz recalled. “Just like I couldn’t stop the rain from falling, or the stars from shining, I just can’t stop loving this man!” Liguz continued, “There is anger in the happiness and a little hate in the love. At the end of the day, passion rules.” And as a result, the song possesses a raw and unbridled tension at its core, influenced by the tempestuous push and pull between love and hate in a fiery and passionate relationship.

BMG released the single globally today, and the single comes with 7 additional remixes and re-workings of the tracks, including re-workings by the likes of YOUTH, Sondrio, Acaddamy, Secret Space, Jevo,  and the members of SSHH.

Co-directed by the band and Billy Zammit, the recently released video for the song manages to subtly draw from rave and electronica culture, as well as psych rock, as it features the duo performing the song in strobe lights and projections.