Category: industrial electronica

New Video: JOVM Mainstays Sextile Release Feverish Visuals for Club Banging “Hazing”

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Over the past couple of years, I’ve written quite a bit about the Los Angeles, CA-based post-punk act and JOVM mainstay Sextile, and as you may recall the act which was formed back in 2015, earned a devout following as a result of an explosive live show and non-stop touring as an opener and as a headliner with the likes of fellow JOVM mainstays A Place to Bury Strangers, Ty Segall, Thee Oh Sees, The Soft Moon, Ought, ADULT., The Chameleons, Modern English and others. Building upon a growing profile, the act has made appearances across the national festival circuit with sets at Bersekertown, Cloak & Dagger and Levitation.

During that same period, the act went through a massive lineup change that found the band writing, recording and performing as a duo featuring founding member Brady Keehn and Melissa Scaduto. And naturally, as a result of those lineup changes, the remaining members radically reinvented their sound — moving towards a synth-based sound with minimal use of guitar; in fact, on EP3, the Los Angeles-based JOVM mainstays last bit of recorded output before their indefinite hiatus, Keehn and Scaduto use a KORG MS-10 sequencer, a Fender Stratocaster, a LinnDrum and various other percussion-based instruments to craft a decidedly 80s industrial synth sound. “Hazing,” EP3’s latest single continues in a similar vein as its predecessors as its centered around a motorik groove, arpeggiated synths and clang and clatter — and while continuing a string of singles that sound indebted to Substance-era New Order.

Directed by Gabriel Francez, the recently released video for “Hazing” is a tense and lysergic fever dream, focused entirely on the subconscious desires of its subjects. “The video is about a dream. The idea was to represent the blurriness of it, where all of the perception is altered and images come one after the other,” Francez explains in press notes. “I imagined the dream being divided into three main levels separated by the red door, representing for the boy character a sign of escape. In each room he finds himself stuck in this surrealistic thriller and look desperately for the exit as the characters try to keep him in this crazy hallucination. It’s an odyssey within the dream where the character is tested by his subconscious.”

Over the course of three full-length albums and a number of EPs, the Detroit, MI-based trio Ritual Howls, comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Interestingly, the trio’s forth, full-length album Rendered Armor is slated for a March 22, 2019 release through felte records continues in a similar vein as The Body. Now, as you may recall, album single “Alone Together” was centered around twangy guitar, ominous atmospherics, shimmering synths and a dance floor friendly thump — and while bearing a sonic resemblance to acclaimed post-punk duo VOWWS, the song is the tale of a classic love song, complete with an aching longing that’s set in a doomed, near apocalyptic world, much like our own. Rendered Armor‘s latest single “Thought Talk,” is a twangy, Violator-era Depeche Mode take on their sound as reverb drenched guitar playing is paired with an industrial thump, laser-like hi hats, sharply arpeggiated and propulsive synths and Bancell’s icy delivery that further emphasizes the song’s plaintive melancholy. And much like its predecessor, the song finds the Detroit-based trio balancing an uneasy intimacy with a wide screen cinematic quality.

Ritual Howls will be touring with The Faint to support their forthcoming full-length album, and it includes two NYC area dates — July 29, 2019 and July 30, 2019 at Bowery Ballroom. Check out the rest of the tour dates below.

Tour Dates
04.13 Los Angeles, CA @ Echoplex (Record Release)  
07.27 Allston, MA @ Brighton Music Hall *
07.29 New York, NY @ Bowery Ballroom *
07.30 New York, NY @ Bowery Ballroom *
08.02 Philadelphia, PA @ Theatre of Living Arts *
08.03 Washington, DC @ 9:30 Club *
08.04 Columbus, OH @ Newport Music Hall *
08.05 Pittsburgh, PA @ Get Hip Records
08.06 Cleveland, OH @ Grog Shop *
08.07 Detroit, MI @ El Club *
08.09  Chicago, IL @ House of Blues *
08.10 Milwaukee, WI @ The Rave II (Downstairs) *
08.12 Minneapolis, MN @ Fine Line Music Cafe *
08.13 Kansas City, KS @ Madrid Theatre *
08.15 Dallas, TX @ Gas Monkey Live *
08.16 Austin, TX @ Scoot Inn *
10.04 Tampa Bay, FL @ Absolution Festival
 
* w/ The Faint, Closeness

New Audio: JOVM Mainstay TR/ST Releases a Murky Industrial-like Single off Forthcoming Third Album

Over the past few years of this site’s almost nine year history, I’ve written quite a bit about Toronto, ON-born, Los Angeles, CA-based JOVM mainstay Robert Alfons, best known for his solo electro pop recording TR/ST. Now, as you may recall, Alfons has released two critically and commercially successful full-lengths 2012’s self-titled effort and 2014’s sophomore effort Joyland. Interestingly, Joyland was a decided change in sonic direction for the Toronto-born, Los Angeles-based electronic music producer and artist with the material  being much more pop orientated while possessing a muscular, club banging thump.

Five years have passed since the release of his sophomore album and as it turns out, the Toronto-born, Los Angeles-based JOVM mainstay had been writing and recording new material in a farmhouse in Southern Ontario and Los Angeles, where he recently relocated. During those writing and recording sessions, which resulted in his forthcoming two album effort Destroyer 1 and Destroyer 2, Alfons worked with a cast of all-star collaborators  that included Austra’s Maya Postepski, with whom he collaborated with on his self-titled debut; Postepski co-wrote and co-produced six of the album’s songs. Alfons also worked with co-producers Lars Stalfors and Damian Taylor to further refine the album’s sound. As Alfons eventually learned during the Destroyer writing and recording process was that patience would wind up being a major ingredient and influence on his songwriting approach and the album’s overall sound. 

“The environment I work in has always guided me. But it took a long time to submit to the kind of patience these songs were asking of me. I was getting glimpses of what I wanted to achieve with the album,” Alfons says in press notes. “But it wasn’t feeling cohesive; things weren’t aligning in a clear direction. My first two records were put out so close to one another that I think of them as one. They just poured out of me.” With The Destroyer, the process was entirely different. “It was so much more careful. I found myself seeking spaces of absolute quiet; I needed them in order to hear what was going on inside.”

Destroyer 1’s first single “Gone” was built around shimmering and arpeggiated synths, stuttering beats, a motorik groove and a soaring and incredibly anthemic hook. And while managing to have a radio friendly accessibility, the song is centered around a swooning and urgent Romanticism that recalls 80s synth pop and New Wave — in particular, New Order’s “Bizarre Love Triangle,” comes to mind. “Unbleached,” Destroyer 1’s second and latest single is a murky single co-written by Maya Postepski that features layers of arpeggiated synths, tweeter and woofer rocking beats, explosive hi-hat, and an infectious and anthemic hook paired with Alfons’ plaintive vocals ethereally floating over the mix. Interestingly as Alfons says in press notes “So happy to share the first collaboration song that me and Maya wrote for the album. This was an ode to the sound of rats running in the roof!’ 

The Destroyer 1 is slated for an April 19, 2019 release through Grouch/House Arrest Records with The Destroyer slated for a November release.

New Video: Omaha’s The Faint Releases Stylish and Menacing Visuals for Club-banging “Child Asleep”

Currently comprised of founding members Todd Fink (vocals) and Clark Baechle (drums), along with Graham Ulicny (keys) and Michael “Dapose” Dappen (bass), the Omaha, NE-based cyber-punk act The Faint can trace their origins back to the mid 1990s. Founded by Fink, Baechle and Joel Petersen, the band’s founding members spent time skateboarding in their free time — until Fink developed knee problems, which shifted their hobbies towards music.

Initially forming under the name Norman Bailer, the band also briefly included Conor Oberst, who left the band shortly after their formation. The band’s founding trio eventually changed their name and signed to Saddle Creek Records, their longtime label home. Interestingly, after releasing a handful of singles that didn’t sell much, the band added Matt Bowen, who was with them for the writing and recording of their full-length debut Media. After the recording of Media, the Omaha-based cyber punk outfit went through a number of lineup changes.

In late 1998, Jacob Theile joined the band, Bowen left and was replaced with Ethan Jones. And with a lineup of Fink, Baechle, Theile and Jones, the band toured across the US, playing the material that would eventually comprised their acclaimed sophomore album Blank Wave Arcade, an album found the band moving towards an electronic dance music and techno influenced sound. Before recording the album, the band went through yet another lineup change with Jones leaving the band and being replaced by Joel Petersen, who played bass and guitar during the album’s recording sessions. 

During the recording sessions for Danse Macabre, the band added Dappen, who was best known for being a member of LEAD. The band’s fifth album, 2008’s Fascination was released through the band’s own label blank.wav.  2012 saw the release of the deluxe and remastered edition of Danse Macabre, which featured bonus and unreleased tracks, a DVD of archival footage, live projections from that album’s tour and live footage. 

In 2016, the band went through another lineup change as Reptar’s Graham Ulicny replaced Thiele. The band’s long-awaited Egowerk is slated for a March 15, 2019 release through Saddle Creek Records. The album, which marks a return to the Omaha-based outfit’s longtime label home, thematically explores the Internet and its impact on modern society and the ego — specifically social media and its dark effects. The album’s first single, album opener “Child Asleep” is a thumping and twitchy industrial house-like club banger centered around layers of arpeggiated synths, rapid fire beats, and vocals fed through copious amounts of vocoder. And while the song manages to recall Tour de France-era Kraftwerk and Atari Teenage Riot, the song is centered around a simple yet profound message — that “if I were wise, I would see that I’m a child still asleep.” 

Directed and Edited by Nik Fackler, the recently released video manages to be tense, slickly stylish and absolutely menacing; or in other words, it seems to accurately capture our uncertain sociopolitical moment. 

Known as a member of highly-heralded, boundary pushing electronic act Sandwell District and the head of underground electronic music label Jealous God, Juan Mendez is an renowned Los Angeles-based electronic music producer, DJ and art director, known for aggressively pushing techno’s sound and aesthetic forward at least twice in his career, with his solo recording project Silent Servant; in fact, Mendez’s solo debut Negative Fascination is largely considered a game-changing modern classic.

Mendez’s sophomore Silent Servant soon-to-be released effort Shadows of Death and Desire reportedly finds Mendez’s song evolving towards a much more raw, abrasive and aggressive sound. In fact, album single “Damage” walked a tightrope between the chilly atmospherics of John Carpenter soundtracks and the tense, harrowing, industrial clang and clatter of Blanck Mass, as the track is centered around layers of arpeggiated synths and thumping beats, but while being dance floor friendly.

Slated for a December 7, 2018 release through Hospital Productions, Mendez’s Silent Servant forthcoming sophomore effort Shadows of Death and Desire reportedly finds Mendez’s sound evolving towards a much more raw, aggressive and abrasive sound; in fact, album single “Damage” walks a careful tightrope between the chilly atmospherics of John Carpenter soundtracks and the tense, harrowing, industrial clang and clatter of Blanck Mass. Interestingly, Shadows‘ latest single, cinematic “Loss Response” continues in a similar vein as its predecessor as the song is centered around an ethereal and atmospheric production consisting of shimmering and undulating synths, propulsive, tribal-like beats. And while moody and provocative, the track manages to nod at a bit at goth and industrial house

Perhaps best known as a member of heralded electronic act Sandwell District and the head of underground electronic music label Jealous God, Juan Mendez is an renowned Los Angeles-based electronic music producer, DJ and art director, known for aggressively pushing techno’s sound and aesthetic forward at least twice in his career, with his solo recording project Silent Servant; in fact, Mendez’s solo debut Negative Fascination is largely considered a game-changing modern classic.

Slated for a December 7, 2018 release through Hospital Productions, Mendez’s Silent Servant forthcoming sophomore effort Shadows of Death and Desire reportedly finds Mendez’s sound evolving towards a much more raw, aggressive and abrasive sound; in fact, album single “Damage” walks a careful tightrope between the chilly atmospherics of John Carpenter soundtracks and the tense, harrowing, industrial clang and clatter of Blanck Mass, as the track is centered around layers of arpeggiated synths and thumping beats, but while being dance floor friendly.

 

 

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.

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.