Tag: industrial electronica

Maurin is a Nantes-based musician, electronic music producer and electronic music artist. After spending the past decade as a touring and studio drummer, the Nantes-based artist turned to sound design, composition and production — and by 2019, he launched his first solo recording project Leo Cassidy.

Informed by his professional experiences and the know-how he picked up in that time, Leo Cassidy was created as a way for the Nantes-based artist to create with complete freedom. Interestingly, his latest Leo Cassidy single “White Pills” further establishes his sound: hypnotic, club rocking industrial house centered around tweeter and woofer rattling beats, layers of shimmering, analog synth arpeggios and some metallic clang and clatter. Sonically, the track may remind some listeners of early Nine Inch Nails, Ministry and even John Carpenter soundtracks — with a primal and forceful feel.

Emerging Vienna-based electronic music production and DJ duo Oszillator is comprised of two classically trained pianists, who have been friends for the better part of the past decade — 21 year-old Max McManus and 20 year-old Benedikt Meschik. Last year, the duo got together to produce Anima‘s debut single a cover of “Naima,” that was a lush synthesis of atmospheric jazz, skittering techno beats, chopped up vocal samples and glistening synth arpeggios centered around Anima’s ethereal yet soulful crooning.

The duo’s remix of Anima’s “Naima” is a thorough reworking of their original production. Centered around an expanded version of the trip hop meets house music bridge from the original, the remix features Anima’s achingly plaintive melodic wailing and her spoken word-like chants paired with bruising industrial clang and clatter, glistening synth arpeggios and relentless, tweeter and woofer rattling thump to create a song that evokes a hallucinogenic and tribal ritual for a seemingly all-too-soon dystopian future.

The Vienna-based duo are currently working on new material with Anima, which will be released this year; but they also have plans to release their own original material, as well.

New Audio: JOVM Mainstay LutchamaK Releases an Industrial and Futuristic Banger

Over the course of the past 13 months or so, I’ve spilled copious amounts of ink covering the frenetically prolific, French electronic music artist, producer and JOVM mainstay LutchamaK. And during that same period, the French JOVM mainstay has released an array of EPs, standalone singles and albums with material that generally draws from techno, with elements of deep house and EDM among other electronic music genres, sub-genres and styles.

The French JOVM mainstay started off this year with the release of his latest full-length album Pi. Written and recorded in an inspired three month burst, Pi finds LutchamaK crafting the darkest and heaviest material of his rapidly expanding catalog to date. So far I’ve written about three of the album’s singles:

“KindaHot.” an expansive, trance-inducing track that brings Tour de France-era Kraftwerk to mind.
“Gesture,” a swaggering and infectious banger centered around squiggling and wobbling synth arpeggios, tweeter and woofer rocking beats, a glistening melody and a sample from the 2013 major motion picture The Family.
“Jump in Time,” a futuristic and swaggering take on dub with a cosmic sheen.

According to the French JOVM mainstays Pi’s fourth and latest single, “Au-delà du reél” can be translated into English as “Beyond Reality.” Featuring industrial clang and clatter, jackhammering beats and shimmering synth arpeggios “Au-delà du reél” manages to be a slick synthesis of industrial and tribal house from the 38th century with female vocals that LutchamaK says ask to be taken beyond reality.

New Video: TRZTN Teams Up with Karen O on a Glitchy and Futuristic Single and Visual

Tristan Bechet is an acclaimed Portuguese-born, Paris-based (by way of Brazil and NYC), singer/songwriter, composer, producer, sound designerr and electronic music artist, who has developed and honed an idiosyncratic approach to music and sound design through stints fronting industrial no wave act Flux Information Sciences electronic rock duo SERVICES and Sauna Kings and with his solo recording project TRZTN.

Bechet has composed pieces for an impressive and eclectic array of internationally renowned brands including Nike, Karl Lagerfeld, Dior, Chanel, Givenchy and The Creator’s Project — with some of his work being featured by The New York Times, Nowness and many others. The Portuguese-born, Paris-based composer, producer, singer/songwriter and electronic music artist is currently composing the score fo a psychological horror drama film.

Bechet’s latest TRZTN album, the recently released Royal Dagger Ballet is an edgy yet lush and mesmerizing compilation of genre-defying, experimental industrial tracks featuring guest spots from Jonathan Bree, Surfbort’s Dani Miller, Ize Teixeira, Estrael Boiso, Interpol’s Paul Banks, Yeah Yeah Yeah’s Karen O and countless others. Each individual track manages to inhabit its own different world — and that shouldn’t be surprising as some of the album’s songs are cinematic and melodic and others are more cacophonous and industrial.

Royal Dagger Ballet’s latest single “Hieroglyphs” is a slow-burning track centered around an eerie track that sonically seems to continuously disintegrate and reintegrate, as its centered around industrial clang and clatter, glitchy and chopped up vocal samples, buzzing bass synths, atmospheric and melodic synths — and it’s all held together by Karen O’s imitable and expressive vocals. “‘Hieroglyphs’ resembles an odd Lynchian dreamstate; bizarre and beautiful. A sonic portrait that warbles away into space dust,” Bechet explains in press notes.

Bechet and Karen O have been frequent collaborators throughout the years, including work together on the music for Spike Jonze’s Where the Wild Things Are and the Rise of The Tomb Raider video game.The writing process behind “Hieroglyphs began after Bechet sent Karen O an initial sonic sketch, to which she quickly recorded her cosmic lyrics. “Without holding back, I embarked on a phantasmagorical way of production – sculpting sound more than composing conventionally. I recorded clangs and digital white noise. I re-shaped her voice, deformed the structure, and resampled her own vocals creating the main staccato vocal theme. The track disintegrates and falls back together like the push and pull of a rubber band stretching.”

Directed by Barnaby Roper, the recently released video for “Hieroglyphs” is a glitchy fever dream in which Victoria Dauberville, appearing as though she just ended a shift at an office job and walking into an empty parking garage to expressively dance — until she’s taken into a wildly different dimension.

Throughout the course of the past year, I’ve written quite a bit about Carré,  a Los Angeles-based indie electro rock act featuring:

  • Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world.
  • Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that JusticeSoulwax and Ed Banger Records exploded into the mainstream.
  • Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels ClineJonny Greenwood and Marc Ribot.

Deriving their name for the French word for “playing tight” and “on point,” the Los Angeles-based trio formed last year, and as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.”

The act specializes in a French electronica-inspired sound that blends aggressive, dark and chaotic elements with hypnotic drum loops while thematically, their work generally touches upon conception, abstraction and distortion of reality centered around geometric shapes and patterns, and a surrealistic outlook on our world.

The trio released their self-titled EP earlier this year, and the EP featured “Urgency,” a track centered round a bed of tweeter and woofer rocking beats, layers of shimmering synth arpeggios, bursts of slashing guitars and gauzy, electronic textures. And while being hypnotic and dance floor friendly, “Urgency” possessed a murky and menacing air that brought Ministry and Pretty Hate Machine-era Nine Inch Nails to mind.

Recently, the members of the JOVM mainstay act partnered with local act President Drone, who completely reworked “Urgency” into a minimalist yet propulsive track centered around stuttering beats, wobbling and shimmering synth arpeggios, industrial clink and clang that pushes Carré’s sound into an even more dystopian and murky direction.

New Video: Jorge Elbrecht and Geneva Jacuzzi Take Viewers on a Journey to a Dystopian Future

Throughout his career, visual artist, multi-instrumentalist, songwriter and producer Jorge Elbrecht has been a prolific, restlessly creative and inventive presence: As a member of the Lansing-Dreiden collective, Elbrecht developed attention grabbing interdisciplinary work. As the creative mastermind behind Violens, Elbrecht received attention for crafting slick and anthemic 80s-inspired New Wave and synth pop. And since Violens’ demise, Elbrecht has been busy as a go-to collaborator cowriting, backing and/or producing a diverse and eclectic array of artists including Ariel Pink, Tamaryn, No Joy, Ice Choir, Kirin J. Callinan, Frankie Rose, Gang Gang Dance and No Swoon among others.

Back in 2018, Elbrecht released a wildly ambitious concept album, which contained roughly and EP’s worth of songs from four very different projects sonically and aesthetically: the shimmering and sunny pop of Presentable Corpse; 90s hi-fi ballads with REMYNYSl; the icy, full-frequency pulse of Gloss Coma; and the choral-driven, thrash metal blasts and gasps of Coral Cross. And while each project was wildly different, the entire album is held together by a subtle yet noticeable through-line. Since then Coral Cross and Gloss Coma full-lengths have been released, as well as an EP Happiness.

Elbrecht’s recent prolific period has a complicated and strange backstory, which I’ll briefly summarize: According to press notes, much of the material that’s been released since 2018 was written over a roughly decade period. At some point. Elbrecht suffered a psychotic break with reality in which he became an increasingly reclusive, barely coherent, aged husk of what he once was. During that period, the acclaimed visual artist, multi-instrumentalist, songwriter and producer still managed to prolifically write and record material with a diverse array of collaborators — but he didn’t see much of a reason at the time.

The press notes suggest that as a result of this psychotic break Elbrecht suffered, his family, friends and supporters have settled upon one unified intention — “to continue playing Elbrecht’s music, keeping his tenacity, imagination and recorded daydreams alive.” From what I understand, more material will be released as Elbrecht has a substantial catalog of material to disseminate.

Elbrecht’s latest single “Perish” is a brooding yet campy 80s-inspired industrial/goth pop banger, centered around shimmering synth arpeggios and tweeter and woofer rocking beats, alternating boy-girl vocals and a rousingly anthemic hook within an expansive song structure. And much like all of Elbrecht’s work, the song should serve as a reminder to the listener: Elbrecht has an unerring ability to craft an infectious, razor sharp hook — while evoking a large sense of existential dread. Interestingly, the song is the second time that Elbrecht has collaborated with Geneva Jacuzzi — the first being “Guillotine,” which appeared on the aforementioned Here Lies.

Directed by Zev Deans, the recently released video for “Perish” is a campy and absolutely batshit visual placing the viewer in a dystopian future with its own weird and unsettling practices and mythology. : “Upon hearing ‘Perish’ and then reading the lyrics, I felt like I was tapping into something at once ancient and futuristic,” Deans says. “There are themes of existential dread at times, while the song maintains a very campy atmosphere. The gonzo sci-fi fantasy film Zardoz came to mind, and I re-contextualized the film’s aesthetic as a backdrop to Elbrecht’s own lore and imagery. A dozen or so sci-fi films from the mid 70s seemed to deal with enclosed utopian societies in the distant future, that all have uniquely bizarre relationships with death and immortality. The aesthetic of these films seem to almost always be delightfully horrendous. John Boorman’s Zardoz is, to me, the single-most thoughtful incarnation of this trend, while boasting an absolutely batshit aesthetic that few other movies can touch.”

New Video: JOVM Mainstay TOBACCO and Nine Inch Nails’ Trent Reznor Reimagine a Beloved 80s Character in Creepy Visual for “Babysitter”

Thomas Fec, a.k.a TOBACCO is a Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter, and throughout his two decade-plus music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure as the frontman and creative mastermind of Black Moth Super Rainbow, as a solo artist and through his production work.

2016 saw the release of Fec’s fourth TOBACCO album Sweatbox Dynasty — and since then the JOVM mainstay has been incredibly busy. TOBACCO reconvened Black Moth Super Rainbow to write and record gauzy 2018’s Panic Blooms, which was supported with tours with The Stargazer Lilies and Nine Inch Nails. Last year saw the JOVM mainstay producing The Stargazer Lilies’ abrasive and trippy Occabot — and he collaborated with Aesop Rock in Malibu Ken, a project that released their critically applauded debut album. And additionally, TOBACCO penned the theme song to HBO’s Silicon Valley.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured the Pittsburgh-based singer/songwriter, multi-instrumentalist and producer’s woozy and scuzzy take on Eric Carmen‘s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy,

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

Interestingly, the album’s second and latest single “Babysitter” finds Fec teaming up with Nine Inch Nails’ mastermind and fellow Pennsylvanian Trent Reznor— and the end result is a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a rusty manual lawnmower through someone’s carpet. In other words:  hot hi-hats, thumping toms battle against scorched synths and gurgling and bubbling hiss and distortion. And yet, the song strangely enough manages to have some of the most accessible, pop-leaning hooks of Fec’s career — while clocking in at a radio friendly 2:19. “This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further,” adds Fec.

Co-directed by the JOVM mainstay, along with the seven fields of aphelion, Eanna Holton and Max Almeida and featuring industrial design by Chris Grondi, the recently released video for “Babysitter” stars a beloved 80s movie character — The NeverEnding Story’s Falcor!  — in an unusual role: being a murky, late night creep outside of an extremely suburban home. He’s the babysitter, alright; the sort that would watch you as your sleep from just outside your window. 

Kite · Teenage Bliss

Kite is a rising Swedish duo — Nicklas Stenemo (vocals) and Christian Berg (keys) — that has developed and honed a unique take on pop, centered around tight, focuses songs in which they mesh adventurous and ambitious songwriting with propulsive and throbbing beats, enormous hooks and an early 90s pop aesthetic.
The Swedish duo’s latest single, the Benjamin John Power-produced “Teenage Bliss” is an intimate and swooning song within an arena rock banger featuring tweeter and woofer, industrial-like beats, shimmering synth arpeggios and a rousingly anthemic hook. Sonically, the song might draw comparisons to New Order and Elastica as it possesses a similar sort of bombast. But at its core, the song will conjure up images of sweaty and booze soaked club shows and nightclubs with your friends and the urgent swooning of first love — with the foolish passions and naivety of youth.
“When we started Kite, the band Fuck Buttons were a big source of inspiration to us,” the Swedish duo says. “Since then, we have been following Benjamin John Powers’ brilliant music as Blanck Mass. We are now extremely excited to announce that we were workin bon the production of two new Kite tracks with him”

 

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New Video: Oakland’s Houses of Heaven Releases a Shadowy and Symbolic Visual for “Dissolve The Floor”

With the release of their debut EP Remnant, the Oakland-based electronic act, Houses of Heaven — Kevin Tecon, Adam Beck and Nick Ott — quickly established their sound, a sound centered around layers of synths, guitar, electronic percussion and drums, the act meshes early industrial and techno rhythms with shoegaze melodicism and dub-influenced effects.

The Bay Area-based trio’s highly-anticiated Matia Simovich-produced, full-debut Silence Places was released digitally earlier this month through Felte Records and will see a vinyl release on Friday.  The album’s material was written against a harsh contemporary backdrop: Northern California’s wildfires, expanding tent cities through Los Angeles, rampant greed and gentrification in San Francisco, rapidly changing the city’s character and soul with empty, luxury high-rises. Thematically, the album touches upon and explores the intimate experiences that transpire within the chaotic and uncertain confines of everyday, modern life. 

“Dissolve The Floor,” Silent Places first single may arguably be the album’s most dance floor friendly song. Centered around a pulsing synth arpeggios, industrial clang and clatter, muscular techno beats, woozy tape delay, an enormous hook and  emotionally detached vocals, “Dissolve The Floor” recalls early Depeche Mode, Factory Floor and others — but with a shadowy sense of menace and unease.

Directed by Cloaking, the recently released video is an appropriate shadowy visual that features the members of the band playing in front of projected geometric shapes and strobe light to create an eerie and surreal effect of the band being separated and pieced back together again. “The visible economic and social disparities in San Francisco create the illusion of parallel worlds, which gives living in the city a painfully surreal quality,” the band’s Kevin Tecon says in press notes. “‘Dissolve the Floor’ depicts a moment in two people’s lives when the false veil of separation is lifted and their worlds suddenly become one. By combining projected and three-dimensional images, the video takes the idea of parallel existence into abstract territory inspired by classic sci-fi and horror films.”

New Audio: Brooklyn’s Wetware Releases a Stark and Menacing New Single

Formed back in 2015, the Brooklyn-based industrial electronica outfit Wetware– Roxy Farman and Matt Morandi — quickly developed a reputation for odd and unpredictable live shows, which they further established with the release of their full-length debut, 2018’s Automatic Drawing. Slated for a June 26, 2020 release through Dais Records, the Brooklyn-based duo’s forthcoming sophomore album, the 11 track Flail reportedly captures disorientating confusion with a concentrated, nosier sound that pushes and pulls against electronic textures paired with frenetically delivered vocals. The end result is material that’s wild and unhinged sonic collage-like dirges.  

“Shiny Face,” Flail’s latest single is a sparse yet menacing track centered around droning synths, relentless clang and clatter and shouted vocals. And while drawing heavily from both industrial electronica and No Wave, the track manages to evoke the anxious unease and paranoia of our contemporary moment, a moment in which there’s no solutions, no answers and no ideas in the face of our near annihilation.