Tag: industrial

Niko Antonucci is a Prague, Czech Republic-born, Los Angeles, CA-based multi-instrumentliast, singer/songwriter, producer and electronic music artist, who can trace the origins of her music career to when she received piano lessons when she was 6. As teenager, the Prague-born, Los Angeles-based artist began stealing her father’s guitar as a teen — and when she turned 15, she had cut her first demo and began singing and playing in a number of local bands for a number of years. But at a young age, Antonucci recognized that in order to get the exact sound she wanted, she would need to do it herself and she began producing herself.

With her solo, downtempo/industrial electronica project Resin, Antonucci’s sound is inspired by many of the influences that have been a part of her creative life including Nirvana, Portishead, Nine Inch Nails , The Cure, Chelsea Wolfe, as well as ambient electronica and classic music, while thematically focusing on spirituality, dark magic, being an outsider. and so on. And with “Hoarse,” the first single off her self-produced full-length effort Fidget, Antonucci pairs swirling electronics, tweeter and woofer rocking beats, stuttering drum programming and a soaring hook with her sultry yet achingly vulnerable vocals — and while clearly nodding at Nine Inch Nails and Portishead, the single also manages to remind me of Version 2.0-era Garbage.

 

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New Video: The Brooding Visuals for Beliefs’ Buzzing and Abrasive, Industrial-Leaning Single “Comb”

Currently comprised of founding members and primary songwriters Jesse Crowe and Josh Korody, the Toronto, ON-based indie rock duo Beliefs have released two well-regarded full-length albums over the course of their seven years together — 2013’s self-titled debut and 2015’s Leaper. And although the band has gone through a series of lineup changes throughout their history, the band can trace its origins to a shared love of late 80s and early 90s noise pop and shoegaze. However, the recently constituted duo’s forthcoming, third full-length album Habitat, which is slated for a September 22, 2017 release through Hand Drawn Dracula Records. The album, which was engineered by the duo’s Josh Korody and mixed by Holy Fuck’s Graham Walsh features guest spots from Leon Tahenny, who’s played with Austra, Death From Above 1979 and Owen Pallet on drums and reportedly finds the band completely destructing, remaking and remodeling their self-conscious shoegazer-based sound to pursue an uncompromising new sound and vision, a a way for the band to find their own unique voice and sound. And interestingly enough, the period in which a band finds their own sound and voice may arguably be one of the most exciting and pivotal periods for any band. “I hope that’s the case,” says Crowe. “That’s always how I feel about bands, too – when you listen to something and it seems like it’s leading to a whole other element of a band, when you feel like you’re in the hallway about to open the door to a whole other space that this band is creating. And I hope that that’s what happens with us. We have no real plans at this point. We don’t want to be a ‘shoegaze’ band anymore.”

Interestingly, Habitat was the first time that the band’s founding duo had written an album together, and as Crowe continues, “we wrote 80% of it in a room in four days wth no previous material. It’s as spontaneous as can possibly be” — with material being derived from extensive jam sessions. Adding to the spontaneous nature of the material, the album was recorded and tracked in 16 days and was recorded with no grand design or plan at play; however, interestingly enough the material manages to be influenced by each individual member’s unique interests and obsessions while gravitating towards unfamiliar instruments and instrumentation. Lately, Korody has had an increasing interest in modular synths and avant industrial  sounds, partially influenced by his solo recording project Nailbiter while Crowe had been listening to a great deal of 90s hip-hop — in particular, Portishead‘s Third.  “It’s a dark record, for sure,”  Crowe says of their new album. “I feel like we were drawing a lot more from, like, me being a Goth teenager and Josh only wanting to listen to Aphex Twin and me only wanting to listen to Portishead’s Third for the last year and stuff like that. But also it was time to embody the elements of being a ‘wall-of-sound’ band with some space and the idea of being able to be quiet when you should be quiet, and you can’t do that with three guitars. There’s no space. It just becomes all push and no pull.”

Now, as you may recall I wrote about album single “1994,” a sleek and atmospheric Xiu Xiu, Antics-era Interpol-leaning single that was reportedly a sort of sequel  Leaper‘s “1992,” thanks in part to a song that eschews a traditional song structure; in fact, much like Antics, the song is focused on creating and sustaining a particular mood than whether a chorus should be placed in a particular part of the song or not. “Comb,” Habitat’s latest single is a noisy and abrasive, industrial and mosh pit worthy track consisting of layers of buzzing synths paired with forceful and propulsive drumming and shout worthy, nihilistic lyrics. And while nodding at Nine Inch Nails and Ministry, the song has an almost dance floor friendly stomp at its core. 

Directed by Andrew Matthews and Ivy Lovell, the recently released video for “Comb” features Crowe and Korody with the members of their touring band performing the song  at Toronto-based music venue Baby G under shadowy lighting and strobe lights. 

Perhaps best known as the frontman of renowned indie rock act Black Moth Super Rainbow, TOBACCO has developed a reputation as a solo artist, who crafts abrasive yet anthemic electronic music that channels Daft Punk,  The Black KeysKraftwerk and Boys Noize, but from some industrial, dystopian and fucked up future — perhaps immediately post Trump? — in which rusty and forgotten machinery and instruments whirr, mash and grind together.

Last year saw the release of Sweatbox Dynasty, the long awaited follow up to Ultima II Massage and while album singles “Gods In Heat,” “Human Om” and “Dimensional Hum” further cemented his reputation for scuzzy and abrasive electronic music, underneath the murky surface was a breezy and dreamy melodicism that added a strange, zen-like calm to the proceedings. Interestingly, TOBACCO recently released a stand-alone single “Get Wet in the Bomb Shelter” and the new single manages to sound as though it was a forgotten Sweatbox Dynasty B side, as the song consists of cascading layers of whirring and buzzing synths, stuttering and propulsive, boom bap-like drums and a glistening melody — and much like the material on Sweatbox Dynasty, the song upon repeated listens reveals a subtle push in a new sonic direction.

 

 

New Video: Soto Voce Returns with a Sensual and Anthemic bit of Industrial Electronica Paired with Feverish Visuals

Late last year, I wrote about the Los Angeles, CA-based electro pop duo Soto Voce. Comprised of Oakland, CA-born, Los Angeles-based vocalist Miguel De Vivo, now known as Mia De Vivo and Colombia-born, Los Angles-based producer Kenny Soto, the electro pop duo can trace its origins to a mutual love of electronic much and industrial music, and to the duo having similar experiences as outsiders — De Vivo, who was born male, grew up gender non-conforming and was relentlessly teased and beaten up “for being like a girl,” and who recently transitioned. Soto on the other hand, fled his native Colombia with his family as a teenager in the 90s, after his port official father refused to collaborate with Pablo Escobar’s drug cartel. When he and his family arrived in the US, they were extremely poor.

Now, as you may recall the duo’s debut single “Better” was quietly released but within a few weeks of is release, the track grabbed the attention of the blogosphere for a brooding, cinematic and difficult to pigeonhole sound that some described with Sade-fronting Radiohead comparison; however, in my opinion that song possessed a deeply personal and aching plea for acceptance both within and without paired with a club-banging yet atmospheric production. And the video specifically focused on the tensions around the Black Lives Matter, Trans Rights Matter and LGBTQ rights movements, how politically and socially things are much more fearful and uncertain for many minority groups across the world.

The duo’s latest single “Pop” will further cement their reputation for crafting propulsive and forceful industrial-leaning electro pop that manages to be sensual yet rousingly anthemic and club-banging. But arguably it may be the darkest, most unhinged and urgent track they’ve released to date.

Directed by Jon Danovic, the recently released music video for “Pop” possesses a surreal, feverish, dream-like logic.

Perhaps best known as members of renowned Sacramento, CA-based experimental hip-hop act Death Grips, Zach Hill and Andy Morin formed their experimental rock/noise rock/punk rock side project The I.L.Y’s in 2015 and they’ve quietly released two full-length albums, their 2015 debut I’ve Always Been Good at True Love and their 2016 sophomore effort Scum With Boundaries. The duo’s third full-length album is slated for a May 16, 2017 digital release, followed by a vinyl and CD release through Castle Face Records on June 16, 2017 — and while the new album has the band collaborating with guitarist Tristan Tozer, who’s best known for his work with Yah Mos and Drug Apts, the album’s first single “I Love You, Man,” will further cement the duo’s reputation for crafting noisy and swaggering, industrial-leaning rock that sounds indebted to hip-hop, punk rock and 80s post punk.

 

 

 

Many influential artists and characters once played at renowned and long-defunct clubs like CBGBs, Max’s Kansas City and others during the mid-to-late 1970s — including a now cult-favored local-born artist Annie Bandez, who known as Annie Anxiety (and later as Little Annie) was the frontperson of punk act Annie and the Asexuals. After several years of attempting a series of unsuccessful creative pursuits, Bandez relocated to the UK, where she would up joining the famed anarchist commune Dial House, led by activist Penny Rimbaud. And while a member of Dial House, Bandez quickly established herself as an artist with a singular voice with the release of her solo debut single “Barbed Wire Halo,” which was released through Crass Records.

Interestingly, when Bandez relocated to the UK, a number of punk rock artists including Bandez herself had begun shifting towards a much more diverse, multicultural approach, exploring dub, rocksteady, ska and other Caribbean genres. In the summer of 1983, Bandez along with legendary dub producer Adrian Sherwood and members of Crass, Family Fodder, African Head Charge, Flux of Pink Indians, London Underground and Art Interface went into the studio to record her stark, industrial dub-based solo debut Soul Possession, which would be released by Corpus Christi Records in 1984. And it resulted in a number of lengthy collaborations with Nurse With Wound, Coil, Current 93, Swans and Marc Almond.

33 years after its initial release, Dais Records will be re-issuing Soul Possession on January 6, 2017 and the re-issue’s first single “Burnt Offerings” is an ominously apocalyptic and minimalist bit of industrial dub featuring mechanical clang and clatter and twinkling keys paired with Bandez’s half-spoken vocals that manages to bring to mind Annika Henderson‘s solo work and her work with Exploded View — and in some way it wouldn’t be surprising if Bandez’s work influenced Henderson and producer/collaborator Geoff Barrow at some point.

Bandez will be on touring Europe throughout the Spring with Swans. Check out tour dates below:

Tour Dates, Spring 2017:
3/08  Rockefeller – Oslo, Norway
3/09  Kraken Sthlm – Stockholm, Sweden
3/11  Grey Hall – Copenhagen, Denmark
3/12  VoxHall – Aarhus, Denmark
3/14  Fleda Club – Brno, Czech Republic
3/15  Taba Ka Kulturfabrik – Kosice, Slovakia
3/17  Legendos Klubas – Vilnius, Lithuania
3/19  Sentrum – Kiev, Ukraine
3/22  FORM Space Club – Cluj-Napoca, Romania
3/23  Control Club – Bucharest, Romania
3/24  MKC – Skopje, Macedonia
3/25  Dom Omladine – Belgrade, Serbia
3/27  Pogon Kulture – Rijeka, Croatia
3/28  Rote Fabrik Ziegel oh Lac – Zürich, Switzerland
3/29  FZW – Dortmund, Germany
3/30  Kompass Klub – Ghent, Belgium
3/31  Paradiso Music Hall – Amsterdam, Netherland

Comprised of friends and collaborators Ben Greenberg (guitar, production), who has spent time as a member of The Men and  with his solo project Hubble, and is the producer and engineer, who has worked on most of the Sacred Bones Records catalog; and Michael Berdan (vocals), who has spent time as a member of Drunkdriver and York Factory Complaint, the New York-based duo of Uniform can trace their origins back to 2013 when the duo had reconnected and recognized that they were both in the same place musically. Desiring as intimate of a recorded and live experience as possible, the duo decided that they had to keep the project as a duo, eschewing a live rhythm section for drumming programming and low end synths paired with Greenberg’s guitar work and Berdan’s vocals. And the immediate result of Greenberg and Berdan’s collaboration was a 12 inch single, quickly followed by their full-length debut Perfect World.

The “Ghosthouse” 12 inch is the duo’s first proper release through Sacred Bones Records and while retaining the us of drum programming, low end synths paired with Greenberg’s guitar and Berdan’s vocals, the duo have expanded upon their sound to include the sounds of war and violent conflict including shots, explosions, implosions, things collapsing, along with industrial clang and clatter to create a murky and abrasively confrontational sound — the sound of the fearful, vicious and uncertain contemporary age we live in while being paired with lyrics that are influenced by Berdan’s own struggles with depression and insomnia.

The duo’s latest single is a Ministry and black metal-like cover of Black Sabbath‘s “Symptom of the Universe” that’s abrasive, punishing and fatalistically bleak — essentially turning the song into a love letter from the grave.

Look for the duo’s sophomore effort sometime in 2017.

 

 

Al Tompkins, the creative mastermind behind goth/industrial act Dark Matter Noise (DMN) is a grizzled, Seattle music scene veteran and quietly kept mainstay. As the story goes, Tompkins went to high school with Chris Cornell and college with Matt Cameron — before Cornell and Cameron met and formed Soundgarden. Tompkins’ first band Ebb and Flow received a great deal of airplay for a goth soundtrack tune that the renowned producer and audio engineer Jack Endino recorded as part of a test to get a job at Reciprocal Recording, where Nirvana eventually recorded Bleach. Tompkins next band, Strange Bulge recorded an album which had guest appearances by Ten Minute Warning and Mother Love Bone‘s Greg Gilmore and the aforementioned Jack Endino and Matt Cameron. Tompkins fourth band Yeast recorded split singles with Nirvana, Helios Creed and Coffin Break among others and opened for the likes of Mudhoney, Soundgarden, and The Fluid. Tompkins then pursued an interest in metal with a stint with Resonator, who opened for the likes of The Gits, Napalm Death, The Pleasure Elite and others.

Tompkins latest project Dark Matter Noise (DMN) was created out of his desire to fully experiment with an electronic sound — and to change up his songwriting approach, after spending years within the indie rock scene. The project’s second and forthcoming album Blackwing is slated for a March 18 release, and the the album has Tompkins producing the album, as well as performing most of the instrumentation on the effort, except for contributions from Electric Hellfire Club‘s Eric Peterson, Vladimir Potrosky contributed songwriting on “End of Line,” and Charlie Drown contributed vocals on “Open Wide” and “Hell’s Frozen.” Sonically speaking, the album’s first single and title track “Darkwing” sounds as though it draws from Ministry, Depeche Mode and early Nine Inch Nails as layers of buzzing guitars, industrial clang and clatter, propulsive and forceful drum programming and drumming and swirling electronics are paired with guttural yet crooned vocals. And although the song and the material on the album is reportedly inspired by a number of very dark things –the dissolution of a marriage, the lost of years of recordings and demos and so on — there’s a sense of resilience just underneath the murky surface.