Tag: industrial

Reykjavik-based post-punk/industrial act and JOVM mainstays Kælan Mikla— Sólveig Matthildur Kristjánsdóttir (synths, vocals),  Margrét Rósa Dóru-Harrysdóttir (bass), and Laufey Soffía Þórsdóttir (vocals) — had a breakthrough year back in 2018: The Cure’s Robert Smith championed the Icelandic trio, and handpicked them to open for the legendary British act’s festival stops through the UK and US. Adding to a big year, Kælan Mikla played at that year’s Roadburn Festival. And they toured with King Dude. Interestingly enough, all of that happened before the release of their critically applauded third album Nótt eftir nott. 

Undir Köldum Norðumljósum, the Reykjavik-based trio’s upcoming, Barði Jóhannsson-produced fourth album is slated for an October 15, 2021 release through their longtime label home Artoffact RecordsUndir Köldum Norðumljósum reportedly sees the trio crafting lush and cinematic material centered around shimmering synth arpeggios, ethereal vocals sung in their native Icelandic, spine-chilling background screams, relentless motorik grooves and programmed drums while pulling the listener into their unique world full of folklore, fairytales, magic, spells and mysticism. The album will also feature a guest spot from Alcest, who toured with the trio across the European Union before the pandemic. 

In the lead-up to the album’s release I’ve managed to write about two of the album’s released singles:

  • Sólstöður,” a brooding and cinematic track centered around droning and shimmering synths, nightmarish screams and an ethereal and gorgeous vocal melody. Sonically, “Sólstöður,” evokes horror soundtracks — especially those featuring witches and demons slinking out into the night to perform ancient rituals involving human or animal sacrifices. “’Sólstöður’ is an ode to the darkest night of the year, when witches summon winter spirits in the frozen vastness of Icelandic landscapes,” the members of the Icelandic trio explain in press notes. “The song represents the strength of unity, Kælan Mikla in its truest form, fueled by the power of harsh and raw nature.”
  • Ósýnileg,” a dance floor friendly track centered around shimmering and atmospheric synth arpeggios, relentless motorik grooves, rapid fire, four-on-the-floor beats and blood curdling screams in the background. Interestingly, the track manages to evoke strobe lit discos and howling wintry winds and unexplained phenomena simultaneously.

Undir Köldum Norðumljósum‘s third and latest single “Stormurinn” finds the trio crafting a decidedly cinematic take on their goth-inspired sound. While you’ll still hear the shimmering synth arpeggios, rapid fire four-on-the-floor, propulsive bass lines, motorik grooves and razor sharp hooks of its predecessors paired with the trio’s ethereal vocals. But unlike its predecessors, you’ll hear some gorgeous and fluttering flute floating over the brooding arrangement and howling winds — to help emphasize the song’s brooding atmospherics.

“Stormurinn’ means ‘The Storm’ in Icelandic. This song is about dancing around a bonfire on the beach on a stormy weather night charged with the power of wind and thunder,” the members of Kælan Mikla explain in press notes.

Album pre-order is available here: https://kaelanmikla.bandcamp.com

Reykjavik-based post-punk/industrial act and JOVM mainstays Kælan Mikla — Sólveig Matthildur,  Margrét Rósa, and Laufey Soffía — had a breakthrough year back in 2018: The Cure’s Robert Smith championed the Icelandic trio, and handpicked them to open for the legendary British act’s festival stops through the UK and US. Adding to a big year, Kælan Mikla played at that year’s Roadburn Festival. And they toured with King Dude. Interestingly enough, all of that happened before the release of their critically applauded  third album Nótt eftir nott. 

Undir Köldum Norðumljósum, the Reykjavik-based trio’s upcoming, Barði Jóhannsson-produced fourth album is slated for an October 15, 2021 release through their longtime label home Artoffact Records. Undir Köldum Norðumljósum reportedly sees the trio crafting lush and cinematic material centered around shimmering synth arpeggios, ethereal vocals sung in their native Icelandic, spine-chilling background screams, relentless motorik grooves and programmed drums while pulling the listener into their unique world full of folklore, fairytales, magic, spells and mysticism. The album will also feature a guest spot from Alcest, who toured with the trio across the European Union before the pandemic.

So far I’ve written about “Sólstöður,” a brooding and cinematic track centered around droning and shimmering synths, nightmarish screams and an ethereal and gorgeous vocal melody. Sonically, “Sólstöður,” evokes horror soundtracks — especially those featuring witches and demons slinking out into the night to perform ancient rituals involving human or animal sacrifices. “’Sólstöður’ is an ode to the darkest night of the year, when witches summon winter spirits in the frozen vastness of Icelandic landscapes,” the members of the Icelandic trio explain in press notes. “The song represents the strength of unity, Kælan Mikla in its truest form, fueled by the power of harsh and raw nature.”

Undir Köldum Norðumljósum‘s second and latest single “Ósýnileg” originally premiered as part of Adult Swim’s Singles series. Continuing a run of remarkably cinematic singles, Ósýnileg” centered around shimmering and atmospheric synth arpeggios, relentless motorik grooves and rapid-fire four-on-the-floor beats, blood-curdling screams and the trio’s equally ethereal vocals Undir Köldum Norðumljósum‘s latest single may be the most dance floor friendly of the singles released off the album so far — while evoking howling wintry winds and unexplained phenomena.

New Video: JOVM Mainstays Kælan Mikla Release a Breathtaking Visual for Brooding “Sólstöður”

2018 was a breakthrough year for the Reykjavik-based post-punk/industrial trio Kælan Mikla: The trio —  Sólveig Matthildur,  Margrét Rósa, and Laufey Soffía — were championed by the The Cure’s Robert Smith, who handpicked the band to open for them on several festival stops in the UK and the US. They also played a set at the Roadburn Festival and they toured with King Dude — before the release of their third album Nótt eftir nott. 

The album featured three singles that I had written about at the time:

“Nornalagið,” a chilly, dance floor friendly track, centered around a motorik groove that managed to evoke a brewing storm rolling across enormous skies.
“Næturblóm,” which to my ears found the trio channeling Siouxsie and the Banshees and the classic 4AD Records sound simultaneously.
“Hvernig kemst ég upp,” a brooding and industrial-leaning track that to my years would draw comparisons to early Depeche Mode and New Order.

The trio supported the album with a lengthy Stateside tour that included an a Reykjavik Calling showcase at Brooklyn Brewery with Icelandic metal act Sólstafir. Since then, the trio have been busy writing and recording material for their Barði Jóhannsson-produced fourth album, which is slated for release through Artoffact Records this fall.

“Sólstöður,” is the first bit of new material from the Icelandic trio in three years — and offers fans a taste of what to expect of the fourth album. “Sólstöður,” is a brooding and cinematic track, featuring droning and shimmering synths, nightmarish screams in the background and an ethereal and gorgeous vocal melody. Sonically speaking, the track evokes the soundtrack of horror films — those centered around witches and demons slinking out in the night for rituals involving some sort of brutal human sacrifice. “’Sólstöður’ is an ode to the darkest night of the year, when witches summon winter spirits in the frozen vastness of Icelandic landscapes,” the members of the Icelandic trio explain in press notes. “The song represents the strength of unity, Kælan Mikla in its truest form, fueled by the power of harsh and raw nature.”

Directed by Pola Maria, the breathtakingly beautiful visual for “Sólstöður” features the trio as black-clad witch-types brandishing swords, challis and other objects while seemingly performing obscure rituals among the majestic landscapes and brooding skies of their homeland. Naturally, many of these rituals seem to tie into the longest night of the year.

New Video: Violent Vickie Releases a Dark and Seductive Visual for Club Friendly “CIrcle Square”

Rising Los Angeles-based coldwave/darkwave/dark synth-riot act Violent Vickie — Vickie (vocals, production) and E (guitar, production) — have released material through Crunch Pod, Emerald & Doreen Recordings, Riot Grrl Berlin and LoveCraft Bar, which the act has supported with tours with Atari Teenage Riot’s Hanin Elias, The Vanishing’s Jessie Evans, Trans X, Them Are Us Too, Aimon & The Missing Persons. Additionally, the Los Angeles-based duo has played sets across the Stateside and European Festival circuits with stops at Insted Fest, Solidarity Fest, Shoutback Fest and Gay Prides and Ladyfests.

“The Wolf” was featured in a National Organization for Women film and she was interviewed for the documentary GRRL as part of the museum exhibit Alien She. And adding to a growing profile, Monster Alley was voted best album by KALX. Violent Vickie’s latest album Division was released last September through Crunch Pod.

Division’s latest single “Circle Square” is a dark, brooding, dance floor friendly bit of coldwave/goth-inspired techno centered around industrial clang and clatter, a relentless motorik groove, arpeggiated synths and Vickie’s achingly forlorn vocals ethereally floating over the murky mix. Sonically drawing from the dark techno songs that Vickie used to party to in Oakland warehouse parties, the track as the duo explains thematically and conceptually “is an exploration of the illusion of not belonging.”

Directed by Ex Corpse Art Collective’s AJ Strout, the recently released video for “Circle Square” was shot with the PhotoBooth app on Vickie’s computer during pandemic-related lockdowns and restrictions. And while being made around a decidedly DIY ethos, the video employs the murky and trippy aesthetic that Strout has presented at goth clubs across Los Angeles.

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.






Cole Koch is an emerging Toronto-based producer. His debut single, “Lockdown NYC” was part of a batch of material originally conceived as a way to keep busy and sane during pandemic-related restrictions and lockdowns. The project began to take a life of its own — to the point that it became a full-time endeavor.

Centered around scorching guitars, tweeter and woofer rattling 808s, squiggling synths and a rousingly anthemic hook, Koch’s urgent and forceful debut single manages to nod at The Pleasure Principle-era Gary Numan and John Carpenter soundtracks. Fittingly for a song that sounds as though it could be part of the soundtrack for our dystopian present, “Lockdown NYC,” is inspired by real life events: Last March, Koch was booked to play The New Colossus Festival. While the festival mostly continued as planned, with the occasional venue closure and cancelled artist, it wasn’t until he finished his set, which was coincidentally at the end of the festival, when the urgency of the moment snapped into focus. With shops, restaurants and most travel shut down, Koch and his friends found themselves in the middle of pandemic-related lockdowns without food, money or their passports.

After a handful of nights sleeping whenever they could, Koch and his friends decided that the only way they could do to get back home was to hitchhike — but with the complete lack of traffic on the roads, that was easier said than done. Eventually, the group of friends came upon a young couple heading back to Toronto. That couple snuggled them across the border under blankets and suitcases.

The new single, which was released by Kanine Records is a the beginning of a batch of material the Toronto-based producer will be releasing throughout the year. And I’m looking forward to hearing what’s next.

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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: 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 Audio: JOVM Mainstay LutchamaK Releases an Industrial Influenced Banger

Throughout the course of this year, I’ve spilled quite a bit of ink covering French electronic music artist, producer and JOVM mainstay LutchamaK. LutchamaK grew up as a voracious music listener and fan with eclectic and wide-ranging tastes that include hip-hop, rock. techno and countless others. As a solo artist, LutchamaK’s work is deeply influenced by and generally draws from techno — but while reflecting his lifelong devotion to eclecticism: his work generally possesses elements of techno, deep house and EDM among other electronic music genres and subgenres.

The French JOVM electric music artist, producer and JOVM has managed to remain remarkably prolific, releasing new material through an increasing number of EPs, standalone singles and a couple of albums, which include his latest album, the recently released Moments. So earlier, I wrote about the album’s opening track “Moment,” and as it turns out the JOVM has released several singles off the album simultaneously, including “Their Future.” Featuring aggressive synth arpeggios, twinkling blasts of keys, tweeter and woofer rocking beats and vocoder’d vocals, “Their Future” continues a run of sleek club banging material — but unlike its immediate predecessors, it has a retro-futuristic and industrial air.