Category: industrial

New Video: Kill Your Boyfriend’s Horror Movie-Inspired Visuals for “Elizabeth”

Since their formation back in 2011, the Venice, Italy-based industrial psych act Kill Your Boyfriend, comprised of Matteo Scarpa (vocals, guitar) and Antonio Angeli (drums), have developed a cold and sinister sound that manages to be simultaneously atmospheric and pummeling. Or as the Italian duo described in an interview, their sound is “a killer that came in the night, violent and cold.”

Over the past few years, the Venice-based industrial psych act has released a handful of singles and an album, which allowed them to tour across the European Union with the likes of Zola Jesus, The KVB, Civil Civic and Zu among others. Adding to a growing profile, the members of Kill Your Boyfriend have shared a stage with JOVM mainstays Preoccupations and they played Manchester‘s The Psych Rising Festival alongside Gnod and The Telescopes.

Officially released today through Depths Records, the duo’s latest single “Elizabeth” is a chilly track that finds them further honing their sound as it features elements of Ministry and Nine Inch Nails-like industrial rock, A Place to Bury Strangers and Sisters of Mercy-like noisey shoegaze centered around a motorik groove, Angeli’s mathematically precise four-on-the-floor drumming and Scarpa’s desperate and anguish-filled howls. 

Hot on the heels of the single’s release, the recently released classic Italian horror movie-inspired, Blau!-directed video follows a woman whose obsession with her lover gradually leads her to a world of madness and feverish hallucinations, which feature the members of Kill Your Boyfriend menacing her. The woman’s obsession and hallucinations eventually creates an ironic and horrifyingly tragic ending — of which she can never escape. 

Since their formation back in 2011, the Venice, Italy-based industrial psych act Kill Your Boyfriend, comprised of Matteo Scarpa (vocals, guitar) and Antonio Angeli (drums), have developed a cold and sinister sound that manages to be simultaneously atmospheric and pummeling. Or as the Italian duo described in an interview, their sound is “a killer that came in the night, violent and cold.”

Over the past few years, the Venice-based industrial psych act has released a handful of singles and an album, which allowed them to tour across the European Union with the likes of Zola Jesus, The KVB, Civil Civic and Zu among others. Adding to a growing profile, the members of Kill Your Boyfriend have shared a stage with JOVM mainstays Preoccupations and they played Manchester‘s The Psych Rising Festival alongside Gnod and The Telescopes.

Officially released today through Depths Records, the duo’s latest single “Elizabeth” is a chilly track that finds them further honing their sound as it features elements of Ministry and Nine Inch Nails-like industrial rock,A Place to Bury Strangers and Sisters of Mercy-like noisey shoegaze centered around a motorik groove, Angeli’s mathematically precise four-on-the-floor drumming and Scarpa’s desperate and anguish-filled howls. The B side is a remix by Preoccupations’ Daniel Christiansen, retains Scarpa’s vocals and Angeli’s four-on-the-floor drumming but while adding a muscular. industrial clang and clatter to the proceedings.

 

 

 

 

 

 

 

 

 

 

New Audio: Reykjavik’s Kælan Mikla Releases Live Concert-based Visual for Industrial Synth Wave-Inspired Single

Over the past handful of months this year, I’ve written a bit about the up-and-coming Reykjavik, Iceland-based synth-based post-punk trio Kælan Mikla. Last year was a breakthrough year for the Icelandic act: they played a set at The Netherlands’ Roadburn Festival, were championed by The Cure’s Robert Smith and toured with King Dude, and as you may recall, all of that happened before the release of Nótt eftir nott. 

The members of Kælan Mikla are currently in the middle of a lengthy Stateside tour that included a New York area stop last night. (You can check out the remaining tour dates below) Sadly, I had to miss that one — but in the meantime, the trio’s latest single off Nótt eftir nott is the brooding  “Hvernig kemst ég upp.” Centered around layers of arpeggiated synths, a motorik-like groove, tweeter and woofer rocking low end, thumping beats, the industrial-leaning, synth-driven track finds the Icelandic act employing a sound that will likely bring early Depeche Mode and New Order immediately to mind. 

Essi is a Brooklyn-based post-punk/industrial duo, comprised of Jessica Ackerley and Rick Daniel. Interestingly enough because both Ackerley and Daniel have backgrounds in noise rock, jazz improvisation and in experimental bands like Gold Dime and Yvette, the duo have a long-held proclivity for unorthodox songwriting and song structures — and for crafting a enormous and layered sound that belies intricate details and painstaking composition choices.

The duo’s forthcoming  Jonathan “Jonny” Schenke-produced album Vital Creatures reportedly finds the duo skirting the edges of genre and genre boundaries while retaining the enormous sound that has been their trademark — all while displaying a deft and appropriate mix of guitar pedals and effects, percussive electronics and vocal distortion. Vital Creatures‘ latest single “Pines and Cones” features rumbling bass, slashing guitar chords, propulsive drumming and peals of feedback within an expansive song structure that finds the band employing elements of prog rock, shoegaze, post-punk, post-rock simultaneously.

 

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I’ve managed to write quite a bit about the Los Angeles, CA-based singer/songwriter, multi-instrumentalist and producer Justin Phillips, a.k.a Crywolf over the past 12-15 months or so. When Phillips started writing and releasing his own music. he was practically homeless, living in a room roughly the size of a closet and subsiding on food stamps. Since then, Philips has developed a growing profile that has included amassing several million streams across all of the various streaming platforms, a headlining slot on the second largest stage at Electric Forest and praise across both the blogosphere and the major media outlets, including Consequence of Sound, Alternative PressBillboardNylon, Complexas well as this site.

Now, if you’ve been following this site over that same period, you might recall that Phillips sophomore album widow [OBLIVIØN Pt. 1]. Building upon the momentum of his sophomore album, Philips recently started a new series THE OBLIVION [Reimagined], which will feature reworked versions of tracks off widow [OBLIVIØN Pt. 1]. The first single in the series featured the Chicago-based producer Mielo tackling “DRIP” — with Mielo releasing an arpeggiated synth-driven, cinematic remix that recalled A-Ha’s “Take on Me” and Depeche Mode while retaining the urgency and frenetic feel of the original. Earlier this week, Seattle-based producer Levit∆te released a glitchy, murky and hyper-futuristic remix of “ULTRAVIOLENT Pt. 2” that retained Philips plaintive vocals.

widow [OBLIVIØN Pt. 1] album single “QUIXOTE [i am alone, and they are everyone] features Philips’ achingly plaintive vocals floating over a cinematic and glitchy production. Recently, SWARM, a dark, industrial metal-influenced electronic artist released his own take on the song — a take that places Philips’ plaintive vocals within a gritty and jarring, industrial production featuring thumping, industrial clang and clatter, aggressively arpeggiated synths and a soaring hook. Evoking the increasing automation and brutality of our contemporary world, the song manages to pull upon and tease out the dark, gritty psychological detail of the original, placing in a new context without stripping the emotionality or the intent of its creator.

“There is something about ‘QUIXØTE’ in particular that is deepening haunting to me,” SWARM says in press notes. “I could feel my own emotions in every aspect of it, from the cathartic atmosphere to the painfully raw lyrics. In my re-imagination, I wanted to bring the psychological grit to light in a more aggressive way by using my own background in metal and industrial music.”

 

 

New Audio: Philadelphia’s King Britt Teams Up with Low for a Lovingly Subtle Industrial Remix of “Fly”

Currently comprised of founding members, and married couple Alan Sparhawk (guitar, vocals) and Mimi Parker (drums) along with Steve Garrington (bass), the Duluth, MN-based critically applauded indie rock trio Low initially formed back in 1993 — and although they’ve had their share of lineup changes, the trio have developed a reputation for being pioneers of a subgenre commonly called slowcore, which focuses on slowed down tempos and minimalist arrangements, centered around the gorgeous and achingly earnest harmonies of Sparhawk and Parker. While the band’s members have largely disapproved of the term slowcore, they’ve managed to eventually shrug off its strictures, recording a beloved Christmas album, as well as having a long-held reputation for a magnetic and powerful stage show. 

Last year, the band celebrated its 25th anniversary together and instead of comfortably going on a victory lap or even resting on the laurels of past accolades and achievements, the band released what may arguably be their most uncompromisingly defiant, brazenly abrasive, challenging and yet gorgeous album in their catalog to date, the B.J. Burton-produced Double Negative. The album, which continued their ongoing collaboration with the producer of Ones and Sixes found the band desiring to go even further with Burton’s aesthetic and sonic palette, to see what someone, who as Sparhawk has described as “a hip-hop guy” could really do with their music. 

Instead of obsessively writing, revising and rehearsing in Duluth, as they normally would do before heading to the studio, the members of Low went down to Eau Claire, WI with rough ideas and sketches that they would work with Burton on in what may arguably be among the most collaborative writing sessions with a producer they’ve ever had. During those sessions, Burton and Low would spend their time building pieces up, breaking them up, breaking them down again and building up again until the material found its proper purpose and force. Although it took them two years to write and record, Double Negative may arguably be considered — by future generations — as a document of our current sociopolitical moment — loud, contentious, chaotic, abrasive, jarring. The material finds Sparhawk’s and Parker’s vocals desperately fighting against an overwhelming tide of noise, other times submerged beneath it. And while the material is a decided and radical sonic departure, the band maintains the gorgeous and achingly heartfelt quality that’s their trademark. 

One of the album’s many standout tracks “Fly” is an eerily atmospheric yet stunning gorgeous track in which Mimi Parker’s vocals float ethereally over a bed of gently swirling, fluttering and glitchy electronics, shimmering guitars and twinkling keys.  The members of Low are about to embark on a relatively short tour that will include two New York area dates, September 13, 2019 at Basilica Hudson and September 14, 2019 at Murmrr — and just before their tour, they released a remix by Philadelphia-based producer and DJ King Britt. Interestingly, the King Britt remix continues the abrasive yet ethereal quality of the original and Mimi Parker’s gorgeous vocals while adding a decidedly industrial electro pop quality to the proceedings It’s a loving take on the material that’s one part continuation of the original’s intent and purpose, one part loving conversation between the remixer and the band. “As a longtime Low fan, a huge amount of respect went into the mix,” King Britt says of his remix. ” I loved their new sonic direction, which spoke to my Fhloston Paradigm project. My mix was a response and continuation in a way of a magical space they already created. Mimi Parker’s vocals were some of her best. A true honor.” 

New Audio: Arizona’s Body of Light Returns with a Brooding Yet Dance Floor Friendly New Single

Earlier this year, I wrote about the Arizona-based sibling, electronic duo Body of Light. And as you may recall, the act — comprised of Andrew and Alexander Jarson — can trace their origins to the Jarsons’ involvement in the acclaimed Ascetic House collective.  Interestingly, what hat initially began as a vehicle for the duo to explore noise and sound during their early teens has gradually evolved into an established electronic production and artist unit that crafts music that draws from New Wave, freestyle, goth and techno — and from the Jarsons’ individual and shared experiences. 

Body of Light’s third album Time to Kill is slated for a July 26, 2019 release through Dais Records and the album reportedly finds the Arizona-based sibling duo refining their sound with a bolder sonic palette while thematically, the duo focus on love and obsession within an era of increasing technological bondage and fleeting exhilaration. The Power, Corruption and Lies-era New Order and Upstairs at Eric’s-era Yaz-like album title track “Time to Kill” was centered around a brooding yet relentless, dance floor friendly production and a brooding Romanticism. Time to Kill’s latest single, the Depeche Mode-like “Don’t Pretend” is centered around and industrial/goth-like production featuring insistent and relentless beats, layers upon layers of shimmering and arpeggiated synths, a soaring hook and plaintive vocals — but unlike its immediate predecessor, the album’s latest single is an urgent, desperate plea. As the duo explain in press notes. “We are all hostages of need; we struggle to free our minds from confinement.” They add that the new single is “a song for those imprisoned by their own desires.”