Tag: John Carpenter

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? 

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Over the past month or so I’ve written a bit about the emerging Brooklyn-based metal act Fliege. And as you may recall, the act which was founded back in 2016 began as an inside joke shared between its founding duo of Coleman Bentley and Peter Rittweger: a metal band based solo upon David Cronenberg’s 1986 remake of The Fly. Although they initially wrote and recorded their self-titled debut demo for a laugh, the effort received praise from Decibel, who called the six song set infectious, and went on to say “Every once in a while, a band comes along, transgresses all genre boundaries and cuts a demo that stands as a genuine demonstration of a singular sound.”

The band recently expanded into a trio with the addition of Chris Palermo (synths). Building upon a rapidly growing profile, the band’s soon-to-be released, highly-anticipated full-length debut The Invisible Seam is slated for release next week. Interestingly, the newly constituted trio’s full-length debut finds the band moving on to more serious cinema as an influence: Ingmar Bergman’s existential masterpiece, The Seventh Seal. “Our demo tackled The Fly, but we soon realized we had to expand from that universe in order to have anything new to say,” the band’s Coleman Bentley explains in press notes. “So for this one, we chose Bergman’s The Seventh Seal, the story of a Swedish knight returning home from the Crusades to find his homeland ravaged by the plague. He challenges Death to a game of chess, staving off his advances long enough to make it home one last time — questioning mortality, the meaning of life, and the existence of God, while trekking across a dying countryside.  Within the framework of that film, we tackle the nihilism of modern life and the paradox of depression – not wanting to live but not actively wanting to die.”

Musically, the material on The Invisible Seam reportedly features a much more refined sound than its immediate predecessor: the addition of Chris Palermo finds the band adding synths to their sonic palette; but along with that, the album features Bentley’s vocals taking up a more central role while ensuring that it’s also heavier, more heartfelt and more grander, in order to fit the epic concept behind it. Along with this decided refinement of their sound, the newly constituted trio’s full-length effort finds them drawing influences from the likes of Immortal, Nine Inch Nails, Judas Priest, Cloud Rat, John Carpenter and a lengthy list of others.

So far, I’ve written about two of the album’s previously released singles: album title track “The Invisible Seam,” a certifiable Headbanger’s Ball-inspired headbanger, centered around towering 80s metal riffage, thunderous, industrial metal-like drumming, Bentley’s howled vocals and a shimmering and brooding bridge — and “Four Suns” another Headbanger’s Ball-era ripper with atmospheric synths and a decided feel of unease and dread. “Love Plague,” The Invisible Seam‘s latest single features shimmering and atmospheric synth arpeggios, some crunchy 80s power chord-based riffage, pummeling drumming and Bentley’s howled vocals, and while nodding at Moving Pictures-era Rush, Ministry, Slayer and John Carpenter, the album’s latest single may arguably be the bleakest they’ve released to date, as it offers an intensely ambivalent view of love.

 

 

 

New Audio: JOVM Mainstays Magic Sword Releases a Meditative and Cinematic New Single

Over the past couple of years, I’ve written quite a bit about Magic Sword, a multimedia project heavily indebted to 70s and 80s fantasy and sci-fi that features three masked and cloaked members known as The Keeper, The Seer and The Weaver, who are collectively called The Three Immortals. Their ageless story of their particular role in the endless battle between good and evil is told through gravel novels and occasionally online by a character known as The Harbinger. The project’s musical output serves as the soundtrack to the graphic novel series with their debut EP Legend being part of the first chapter of the The Three Immortals’ quest to find the chosen one. 

Released late last year, the Awakening EP was the highly-awaited follow up to Legend. And as the ongoing story’s second chapter, the material continues the ongoing story of The Three Immortals’ quest to find the chosen one, the only one who has the ability to wield the power of the Magic Sword and defeat the Dark One.

The trio have received quite a bit of attention across the blogosphere and elsewhere for their material and their live show. Building upon a growing profile, the members of The Magic Sword will be releasing their sophomore album Endless through Joyful Noise Recordings on March 27, 2020. The 11 song album’s first single is the cinematic and meditative “Depths of Power.” Centered around layers of shimmering and arpeggiated synths, dramatic and propulsive drumming and a sizzling guitar solo, the track manages to be a retro futuristic track that nods at John Carpenter and 80s dystopian movies but with a clean, modern studio sheen. 

Founded back in 2016, the up-and-coming Brooklyn-based metal act Fliege began as an inside joke shared between its founding duo of Coleman Bentley and Peter Rittweger: a metal band based solo upon David Cronenberg’s 1986 remake of The Fly. Although they initially wrote and recorded their self-titled debut demo for a laugh, the effort received praise from Decibel, who called the six song set infectious,  and went on to say “Every once in a while, a band comes along, transgresses all genre boundaries and cuts a demo that stands as a genuine demonstration of a singular sound.”

Building upon a growing profile, the band, which recently expanded to a trio with the addition of Chris Palermo (synths) will be releasing their highly-anticipated full-length debut The Invisible Seam on January 31, 2020. Interestingly, the newly constituted trio’s full-length debut finds the band moving on to more serious cinema as an influence: Ingmar Bergman’s existential masterpiece, The Seventh Seal. “Our demo tackled The Fly, but we soon realized we had to expand from that universe in order to have anything new to say,” the band’s Coleman Bentley explains in press notes. “So for this one, we chose Bergman’s The Seventh Seal, the story of a Swedish knight returning home from the Crusades to find his homeland ravaged by the plague. He challenges Death to a game of chess, staving off his advances long enough to make it home one last time — questioning mortality, the meaning of life, and the existence of God, while trekking across a dying countryside.  Within the framework of that film, we tackle the nihilism of modern life and the paradox of depression – not wanting to live but not actively wanting to die.”

Musically, the material on The Invisible Seam reportedly features a much more refined sound than its immediate predecessor: the addition of Chris Palermo finds the band adding synths to their sonic palette; but along with that, the album features Bentley’s vocals taking up a more central role while ensuring that it’s also heavier, more heartfelt and more grander, in order to fit the epic concept behind it. Along with this decided refinement of their sound, the newly constituted trio’s full-length effort finds them drawing influences from the likes of Immortal, Nine Inch Nails, Judas Priest, Cloud Rat, John Carpenter and a lengthy list of others.

Now, as you may recall, last month I wrote about album title track “The Invisible Seam.” Centered around towering 80s metal riffage, thunderous, industrial metal-like drumming, Bentley’s howled vocals and a shimmering and brooding bridge, the song was a certifiable Headbanger’s Ball-inspired headbanger that found the trio further cementing their reputation for intelligently pushing the boundaries of thrash metal both sonically and thematically.  The album’s second and latest single “Four Suns” continues in a similar vein as its immediate predecessor: a Headbanger’s Ball-era ripper, with fiery and towering riffage, thunderous drumming, Bentley’s howled vocals and atmospheric synths. But unlike its predecessor,”Four Suns”  is a pummeling and forceful bit of unease that in light of the most recent developments in Australia, Iran and elsewhere should hit close to home.

“‘Four Suns,’ as they say in Hollywood, is our threshold to adventure—a fitting intro to both Fliege and the world of ‘The Seventh Seal,’ marked for death by forces beyond understanding,” the band’s Coleman Bentley told MetalSucks. “Following Antonious Block, medieval knight, and his squire as they embark on a journey home from the crusades, it’s an OSDM-tinged banger that paints a picture of world a in rot. Graves overfed. Doors painted red. Eyeless corpses gazing up at a quartet of flaming stars that will soon burn them alive. Sound familiar? It should.”

Founded back in 2016, the up-and-coming Brooklyn-based metal act Fliege bean as an inside joke between its founding duo — Coleman Bentley and Peter Rittweger: a metal band based solo upon David Cronenberg’s 1986 remake of The Fly. Although they initially wrote and recorded their self-titled debut demo for a laugh, it received praise from Decibel, who called the six song set infectious,  and went on to say “Every once in a while, a band comes along, transgresses all genre boundaries and cuts a demo that stands as a genuine demonstration of a singular sound.”

Building upon a growing profile, the band, which recently expanded to a trio with the addition of Chris Palermo (synths) will be releasing their highly-anticipated full-length debut The Invisible Seam on January 31, 2020. Interestingly, the newly constituted trio’s full-length debut finds the band moving on to more serious cinema as an influence: Ingmar Bergman’s existential masterpiece, The Seventh Seal. “Our demo tackled The Fly, but we soon realized we had to expand from that universe in order to have anything new to say,” the band’s Coleman Bentley explains in press notes. “So for this one, we chose Bergman’s The Seventh Seal, the story of a Swedish knight returning home from the Crusades to find his homeland ravaged by the plague. He challenges Death to a game of chess, staving off his advances long enough to make it home one last time — questioning mortality, the meaning of life, and the existence of God, while trekking across a dying countryside.  Within the framework of that film, we tackle the nihilism of modern life and the paradox of depression – not wanting to live but not actively wanting to die.”

Musically, the material on The Invisible Seam reportedly features a much more refined sound than its immediate predecessor: the addition of Chris Palermo finds the band adding synths to their sonic palette; but along with that, the album features Bentley’s vocals taking up a more central role while ensuring that it’s also heavier, more heartfelt and more grander, in order to fit the epic concept behind it. And they do so while drawing from the likes of Immortal, Nine Inch Nails, Judas Priest, Cloud Rat, John Carpenter and a lengthy list of others.

Album title track and first single “The Invisible Seam” features towering 80s metal riffage, thunderous, industrial metal-like drumming, Bentley’s howled vocals and a shimmering and brooding bridge. It’s a certifiable Headbanger’s Ball-inspired headbanger with a slick production and subtly expansive and trippy song structure. But interestingly enough, the song finds the band further cementing their reputation for intelligently pushing the boundaries of thrash metal both sonically and thematically.

 

 

New Audio: Magic Sword Releases an Epic Funky New Single off Their Soon-to-Be Released Sophomore EP

Magic Sword is a multimedia project heavily indebted to 70s and 80s fantasy and sci-fi: featuring three masked and cloaked members, only known as The Keeper, The Seer and The Weaver, who are also collectively known as The Three Immortals. Their ageless story of their role in the battle between good and evil is told through graphic novels and occasionally online by a character known as The Harbinger. Magic Sword’s musical output is the soundtrack to their graphic novel — and unsurprisingly, their debut EP Legend was the first chapter of The Three Immortals quest to find the chosen one. 

Slated for release this Friday through Joyful Noise Recordings, Awakening EP is the highly-awaited follow up to Legend. As the second chapter, the material continues the ongoing story of The Three Immortals’ quest to find the chosen one, the only one who has the ability to wield the power of the Magic Sword and defeat the Dark One. Now, earlier this year I wrote about the EP’s first single, the epic retro-futuristic John Carpenter-inspired soundtrack meets 1984-era Van Halen-like title track “Awakening.” The EP’s latest single “Lady of Light” may be the funkiest track on the EP, as it’s centered around a funky and strutting bass line, layers of shimmering synth arpeggios, reminiscent of Daft Punk — and much like its immediate predecessor, the track finds the act balancing slick production with a decidedly retro-futuristic soundtrack vibe. 

New Audio: Electronic Music Pioneer Patrick Cowley’s Posthumously Released, Early Experimental and Psychedelic-Tinged Electronica

Born in Buffalo, NY, the highly influential and forward-thinking electronic music producer and artist Patrick Cowley relocated to San Francisco in 1971 to study electronic music at the City College of San Francisco. By the late 70s, Cowley’s synthesizer and production techniques landed him a gig writing and producing songs for legendary, gender-bending disco superstar Sylvester, including the sultry and propulsive, smash hit “You Make Me Feel (Mighty Real).” 

Around the same time, Cowley managed to create his own brand of party music, known as Hi-NRG, which was also dubbed “The San Francisco Sound” and by 1981, he had released a string of 12″ singles as a solo artist, including “Menergy” and “Megatron Man.” Interestingly, 1981 was an incredibly busy year for the legendary electronic music producer and artist: he co-founded Megatone Records, which released his debut album Megatron Man. 

During that same year, Cowley as hospitalized and diagnosed with an unknown illness. which would later become known as AIDS. Recovering for a brief spell he went on to produce Sylvester’s smash hit “Do You Want to Funk” and Paul Parker’s “Right on Target,” as well as his sophomore album Mind Warp. Tragically. Cowley died two weeks after his 32nd birthday from an AIDS-related illness.  Since his death, Patrick Cowley has become one of electronic music’s most influential and forward-thinking artists and producers.  Perhaps unsurprisingly, his previously released work has seen posthumous re-issues, including a re-issue of Mind Warp a few years ago. 

With growing attention on the late electronic music pioneer’s work, a collection of previously unreleased material written between 1973-1980 was recently discovered. Dubbed Mechanical Fantasy Box, the 13 previous unreleased songs will be released in tandem with Cowley’s homoerotic journal of the same name, and the compilation is a collection of Cowley’s work from the years preceding his meteoric rise as a pioneer of Hi-NRG dance music. Interestingly, these songs were written and recorded  before drum machines and programmable, polyphonic digital synthesis with the material being highly experimental. Sonically, the material flows from funk to kraut to psychedelic, ambient electronics inspired by Tomita and Kraftwerk. 

Some songs were mixed from 4-track stems by Joe Tarantino and all of the compilation’s 13 songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl edition comes housed in a black and white gatefold jacket Gwenaël Rattke featuring a photograph by Susan Middleton, liner notes by bandmate Maurice Tani and an 8.5×11 insert with notes. But more important, proceeds from the compilation will be donated to the San Francisco AIDS Foundation. The San Francisco AIDS Foundation has been committed to ending the pandemic and human suffering caused by HIV sine 1982. 

Clocking in at just a smidge under 11:30, Mechanical Fantasy Box’s first single “Lumberjacks in Heat” manages to be a trippy synthesis of John Carpenter soundtracks krautrock-inspired prog rock and psychedelia as the composition is centered by layers of shimmering and fluttering bursts of synths and some propulsive and forceful drumming.   Interestingly, much like Kraftwerk’s legendary and influential work, this previously unreleased single manages to simultaneously be of its time and remarkably contemporary — as though it could have been part of the retro-futuristic wave. 

Reindeer Flotilla is a Los Angeles-based electro pop act comprised of Neal Harris (vocals, keys) and Josh Brown (guitar). The duo started jamming together in the basement of an Atwater Village wine store, playing covers of John Carpenter, Brian Eno and Elliot Smith, which helped them develop their own sound centered around synths and guitar.

The Los Angeles duo’s latest single is an eerily straightforward cover of Radiohead‘s “Lucky,” that’s a bit more atmospheric and shimmering than the original — but while retaining the original’s soaring and yearning quality.