Tag: John Carpenter

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.


Deriving her stage name from the Idlewood district of San Andreas in Grand Theft Auto: San Andreas, Eleanor Idlewood is an emerging, 23 year-old, Bordeaux-based electronic music producer and artist, who can trace the origins of her music career to when she was 14: Idlewood explains that her best friend received music programming software and they shared the software with her. Ever since then she’s been making her own original music, inspired by the sounds of the 80s and 90s — including Depeche Mode, Frankie Goes to Hollywood, The Human League, Kraftwerk, Vangelis, Pet Shop Boys, Madonna, Jean-Michel Jarre, Moby, Telepopmusik, Testu Inoue, Stephane Pompougnac, William Orbit and a lengthy list of others. (Perhaps unsurprisingly, the emerging French electronic music artist and producer admits that she’s obsessed with the 80s: she owns some vintage synthesizers from the 80s and owns vintage dresses, boots and other items from the 80s that she regularly wears.

After releasing a handful of singles that found the emerging French electronic music producer and artist experimenting with darkwave and New Wave, she released her full-length debut Little Secrets last year. The album’s latest single “Not Your Fault” is a brooding and cinematic track featuring industrial clang and clatter, thumping beats and shimmering synth arpeggios. While the song seems indebted to John Carpenter soundtracks, it’s centered around a slick, contemporary polish.

New Video: Los Angeles’ Spacette Urges Us to Dance Away Our Troubles

Jordan Heimburger is a Los Angeles-based guitarist, who has spent the past few years as a session player and a touring musician with acts like The Feed, John Henry and Kevin Bowers’ Nova. Earlier this year, Heimburger began translating his experience of living during a pandemic into a series of songs that drew inspiration from the dystopian sci fi movies and books that seemed to come to unsettlingly vivid life. As songs began to take shape, Heimburger began his latest project Spacette and then reached out to a collection of acclaimed and talented local musicians including Anna Louise Thaiss (vocals), who has worked with Honey Whiskey Trio and as a solo artist; Heather Rivas (keys), who works as a solo artist; Doug Organ (keys, production, engineering), who works with Here Lies Me and Stunt Double; Kevin Bowers (drums), who has worked with The Feed and Kevin Bowers’ Nova; Tony Barbara (drums), who has worked with John Henry and Laren Loveless; John Pessoni (drums), who has worked with The Urge; Ben Reece (sax), who has worked with The Feed, Ben Reece Unity Quartet; and Bryan Hoskins (vocals), who has worked with John Henry to flesh out the songs and contribute solos.

Slated for release next week, Spaceette’s debut EP was recorded using remote recording — as a result of pandemic-related restrictions and lockdowns, much like most of the material being released right now. Interestingly, “Sweat,” the EP’s latest single is centered around squiggling synth arpeggios, Nile Rodgers-like funk guitar, thumping four-on-the-floor and a driving motorik groove paired with ironically detached vocals. Sonically, the track is a slick synthesis of creepy and cinematic John Carpenter-like analog synth soundtracks, disco funk and 80s New Wave.

The recently released video follows a female dancer, who dances to the song with a series of moves that mix hip-hop, ballet and club dancing — with the video suggesting that when times get tough, dance your troubles away.

Romain Deceunnick is an emerging Corisa-born, Paris-based multikdisciplinary artist. When he turned 19., he left Corsica to study graphic design — and by the time, he turned 21, he landed at a job at Canal +. While at Canal +, Deceunnick built up a profile as a go-to director of photography, editor and sound designer.

Inspired by a desire to travel the world. the Corsica-born, Paris-based multidisciplinary artist joined Canal +’s TF1 Reporting decision. During his four year stint with TF1 Reporting, Deceunnick became increasingly fascinated by how images can make the viewer feel something that they’re not used to seeing. In 2018, Deceunnick created his multidisciplinary project Blonde.Engie, a project which draws from his mutual passions into photography and music.

2020 has been a busy and prolific year for Deceunnick, who has released a couple of one-off singles, his full-length debut Isolate — and his latest single, the brooding “Passenger..” Centered around layers of shimmering synth arpeggios and thumping beats, “Passenger” sounds as though it could be part of the soundtrack of a post apocalyptic, John Carpenter-like movie.

New Video: JeGong Releases a Slow-Burning and Meditative Visual for Atmospheric “Sowing dragons Teeth”

JeGong is a new krautrock-inspired, experimental act featuring MONO (Japan)’s and Watter’s Dahm Majuri Cipolla (drums) and Sum of R.’s Reto Mäder (synths). Slated for an October 16, 2020 release through Pelagic Records, the duo’s 14 song full-length album I reportedly finds the band using krautrock to push themselves, and their songwriting approach into new territories — with the album’s material featuring elements of ambient, experimental rock, krautrock, post rock and electronica. The end result is an album centered around ambient soundscapes and repetition that sounds like the soundtracks to Blade Runner and Metropolis.

The album was written and recorded remotely with Mäder recording instrumental parts at Hinterzimmer in Bern, Switzerland and Cipolla recording drums at BC Studio with Martin Bisi, where it was partially mixed. Additional mixing took place in Finland with Jaakko Vitalähde.

“Sowing Dragons Teeth,” I’s latest single is a minimalist, slow-burning and atmospheric track centered around repeating shimmering synth lines, taut yet propulsive drumming, gurgling and hissing feedback and subtle blasts of guitar. The track sounds as though it should be part of John Carpenter-like movie soundtrack — but while featuring subtly morphing throughout the entire song, “We wanted to have a song that is constantly changing in form and density. A song structure like a maelstrom or a growing plant focusing on our two main instruments, analog synthesizers and drums, the members of JeGong explain in press notes. “The theme of the song goes well with the film scene in Blade Runner 2049, in which a meager little flower in a field of ashes becomes a sign of hope.”

The recently released video for “Sowing Dragons Teeth” is the second part of a trilogy focused don a dystopian world that collapses and is eventually recreated by another species with a monolith as a memorial for the previous world.

New Audio: Portland-based JOVM Mainstays R.I.P. Releases an Accessible, Anthemic and Sleazy New Ripper

With the release of their first two albums — 2016’s In The Wind and 2017’s Street Reaper — the Portland, OR-based doom metal act and JOVM mainstays R.I.P. quickly established their grimy, punishing, and depraved take on metal that they dubbed Street Doom. Now, that many of us are sheltering in place and maneuvering through a dystopian and kleptocratic hellscape, their work’s thematic concerns seems frighteningly prescient. 

Dead End, the Portland-based JOVM mainstays’ long-awaited third full-length album is slated for an October 9, 2020 release through RidingEasy Records. Dead End sees that be band going through a lineup change that has resulted in the addition of a more aggressive rhythm section — while drawing from a more diverse range of influences including John Carpenter films, grungiest professional wrestling and lo-fi hip-hop among others. Moving a bit further away from the influence of Pentagram and Saint Vitus, the album may be the most hook-driven of their growing catalog but while still thematically touching about death, insanity — and leather. Additionally, the material’s overall feel was inspired by West Coast tours with Electric Wizard and Red Fang and a month-long headlining tour of Europe. 

“Out of Time,” Dead End’s blistering first single is centered around Black Sabbath-like riffs, enormous arena rock friendly hooks, thunderous drumming and a sneering punk rock air. While still thematically focusing on the prototypical doom metal themes of death, insanity, sick societies on the verge of collapse and the like, “Out of Time” manages to be accessible without scraping off the sludge, slime and grime that has won them attention. 

New Video: The Badgers and Damolh33 Team Up on a Cinematic and Thumping Club Banger

Currently split between Stuttgart, Germany and Frankfurt-am-Main, Germany, the French-born, German-based electronic music production and artist duo The Badgers — Yannick and Joel — can trace their origins back to when its members met while in high school twenty years ago. Bonding over a deep and abiding love of music, the duo learned how to DJ from six vinyl records they had owned. Building from there, the duo earned a residency at a house music bar in Eastern France, which led to the duo creating and organizing events across their native France. 

Increasingly, the duo had a desire to create their own original music, and although through most of their recent history, they’ve been working in different locations, the duo have been busy: they wrote, recorded and released a batch of material that wound up topping the Beatport Charts including 2012’s Deep Dark Mood EP and Frozen Nipple EP. And while developing a reputation across the European Union for being a must-see live act with an improvisation heavy-based live set, the act has also been wildly prolific — including a successful and ongoing collaboration with Orechová Potôň, Slovakia-based sibling duo Damolh33 — Gabriel Bernáth (a.k.a. Gabbo) and Mikuláš Bernáth (a.k.a Mikkie)  — that has resulted in a handful of EPs including 2013’s Cabin Fever EP and They Live EP, Rebirth of Dark EP, and 2014’s Hospital Massacre EP. Each EP was centered around a specific, horror movie-inspired theme. ” 

“Near Death” finds the French-born, German electronic act re-establishing their collaboration with their Slovakian counterparts on “Near Death.” Centered around a minimalist-leaning production featuring wobbling low end, bubbling synths and skittering beats, “Near Death” may remind some listeners of John Carpenter soundtracks but with a club friendly, muscular thump. 

The recently released video is an incredibly cinematic visual that features our planet’s gorgeous and pristine beauty being destroyed by humanity’s greed, industrial excess — capturing what seems like the end of our species’ 2 million year run on this planet. 

New Audio: French Producer Sory Releases a Cinematic and Retro-futuristic New Single

Deriving his name from a French word for “tawny,” an orange-brown or yellowish-brown, Sory is a mysterious and emerging Parisian electronic music producer and electronic music artist, who has started to receive attention for a sound that’s heavily influenced by electro pop and electro funk. Thematically, the French producer and artist’s work draws from his lifelong obsession with robots — with the material taking the listener on an intergalactic future in which humanity is at one with machinery. 

Last month, Sory released his debut EP, the four song Fall ‘N’ Rise,  which featured lead single “Sitting on a cloud.” “Sitting on a cloud” gave a hint at what listeners should expect from the effort: slickly produced electro pop that nodded at funk and disco, centered around vocodored vocals. The EP’s second and latest track, the cinematic “Cyberpunk attack” is centered around shimmering synth arpeggios, thumping beats, four-on-the floor drumming and an enormous hook. Arguably, the most retro-futuristic of Fall ‘N’ Rise’s four tracks, “Cyberpunk attack” manages to bring Daft Punk, Giorgio Moroder and John Carpenter soundtracks to mind. That shouldn’t be surprising: the song imagines an attack in which humans are captured and made into cyborgs through the implantation of bio-mechanical components. In the case the song’s composer imagines a future in which a memory chip that captures the entirety of his personality, memory, talents and history was implanted in his brain. The track asks if that were to happen, how does one regain their humanity and soul?