Tag: Marilyn Manson

New Video: SSHH Returns with a Club Banging Industrial Electronica-Influenced New Single Paired with Trippy Visuals

Comprised of Bondi, Australia-born, London UK-based Sssh Liguz (vocals) and Zak Starkey, the son of Ringo Starr, a multi-instrumentalist, best known as a touring drummer for The Who and Oasis (guitar), the London-based electro punk duo SSHH received attention with the release of their 2016 debut effort, Issues, which featured the duo collaborating with some of rock’s most renowned rhythm sections, including members of The Sex Pistols, Mott the Hoople, the backing bands of Marilyn Manson and Peter Tosh — to benefit charity.

The propulsive, industrial techno-like single “Rising Tide” which features heavily arpeggiated synths with thumping, tweeter and woofer rocking beats and an infectious hook is the duo’s first bit of new material since Issues and the club banger was born, as Liguz told Earmilk “from a fiery argument” while “driving in a heavy rainstorm.” “I remember being furious beyond belief. Not only because we were having a huge fight, but because even though we were acting like assholes to each other, I couldn’t stop thinking how much I loved him,” Liguz recalled. “Just like I couldn’t stop the rain from falling, or the stars from shining, I just can’t stop loving this man!” Liguz continued, “There is anger in the happiness and a little hate in the love. At the end of the day, passion rules.” And as a result, the song possesses a raw and unbridled tension at its core, influenced by the tempestuous push and pull between love and hate in a fiery and passionate relationship.

BMG released the single globally today, and the single comes with 7 additional remixes and re-workings of the tracks, including re-workings by the likes of YOUTH, Sondrio, Acaddamy, Secret Space, Jevo,  and the members of SSHH.

Co-directed by the band and Billy Zammit, the recently released video for the song manages to subtly draw from rave and electronica culture, as well as psych rock, as it features the duo performing the song in strobe lights and projections.

 

Comprised of Jay Sillence (vocals), Max Watt (guitar, vocals), Dani Barge (bass) and Dom Smith (drums), the up-and-coming York, UK-based hardcore metal act SEEP AWAY cite Black Flag, Cancer Bats, Bongripper, Turnstile, God Damn, Soulfly and Marilyn Manson as influences on their sound and approach. And in a relatively short period of time, the York-based quartet have begun to develop a reputation for being one of the region’s hardest working bands — and for a sound that may remind many listeners to Follow the Leader-era Korn and others.

Building on a growing profile, the band’s debut effort, The Blackened Carnival of Societal Ineptitude is slated for an early 2018 release, and the album’s first single is an explosive and feral cover of what may arguably be one of the greatest songs in the history of hip-hop — Ol’ Dirty Bastard‘s “Shimmy Shimmy Ya.” And I suspect that it would make ODB very proud while being mosh pit worthy.

 

 

 

 

 

New Video: The 90s and 00s Metal and Alt Rock-Inspired Visuals for Chelsea Wolfe’s “16 Psyche”

Chelsea Wolfe is a California-born and-based singer/songwriter and guitarist, who with the release of 2010’s The Grime and the Glow, 2011’s Apokalypsis, 2013’s Pain Is Beauty and 2015’s Abyss received attention across the blogosphere for a sound that meshes elements of gothic rock, folk, neofolk, electronica and metal, and for material that thematically dug underneath the world’s ugliness, messiness and hurt to get at a profound beauty underneath. Because of its cinematic and moody quality, her music has been featured in the promotional material for several TV series, including Game of Thrones, Fear the Walking Dead and How to Get Away with Murder.

Wolfe’s sixth full-length album Hiss Spun is reportedly inspired by a Henry Miller quote —  “What I want is to open up. I want to know what’s inside me. I want everybody to open up. I’m like an imbecile with a can opener in his hand, wondering where to begin — to open up the earth. I know that underneath the mess everything is marvelous. I’m sure of it.” And unsurprisingly, the material finds the renowned California-born and-based singer/songwriter and guitarist adopting Miller’s quest to become truly empowered by embracing the complete, messy self and to control the tumult within one’s soul in the hopes of reigning in the chaos of the world around them. However, as Wolfe explains in press notes, she had initially wanted to write some sort of escapist music with songs that were about being in your body and getting free; but “you’re just bombarded with constant bad news, people getting fucked over and killed for shitty reasons or no reason at all, and it seems like the world has been in tears for months, and then you remember that it’s been fucked for a long time; it’s been fucked since the beginning. It’s overwhelming and I have to write about it.” 

The album, which was recorded by Kurt Ballou in Salem, MA during the beginning of this year was also inspired by a brutally cold New England winter, several major upheveals in Wolfe’s personal life, as well as the Californian singer/songwriter and guitarist coming to terms with years of conflicting feelings of vulnerability, anger and self-destruction, an dark family history that has weighed heavily upon her and her life. And as a result, the material on Hiss Spun may arguably be the heaviest, darkest and most forceful material she has written to date. Additionally, long-time collaborator Ben Chisholm contributes swaths of sound collages recorded while Wolfe and her backing and were on tour — the rumble of street construction while they were on tour in Prague; the howl of a coyote outside Wolfe’s home; the scrape of machinery on a floor of a warehouse at a down-and-out friend’s workplace, as well as samples from the bomb blasts of the Enola Gay, the shrieks and mating calls of primates, the fluttering pages of a book of Walt Whitman’s poetry are all manipulated and seamlessly placed within the music.

The overall effect was to be a cathartic emotional purge and as you’ll hear on “16 Psyche,” the latest single off Hiss Spun, the song while managing to sound as though it were inspired by Tool and A Perfect Circle, complete with pummeling drumming and roaring distortion-heavy power chords and an antehmic hook possesses a palpable aching yearning  and broiling, feral, fury at its core that reminds me quite a bit of PJ Harvey. 
Directed by Zev Deans, the recently released video for “16 Psyche” is deeply inspired by late 90s and early 00s alt rock and metal videos and features a cameo by Queens of the Stone Age’s Troy Van Leeuwen, who appeared in similar videos of the era, and fittingly the video consists of dark, foreboding imagery of Wolfe in a straitjacket, being carted off as though she were Hannibal Lecter, Wolfe and her backing band performing the song in a smoke machine-filled studio dressed entirely in black and more. As a boy and teenager, who was obsessed with watching MTV, just watching the video brings back a ton of memories — Marilyn Manson’s “The Beautiful People” anyone? 

New Video: Introducing The Darkly Seductive Sounds and Visuals of London’s Hana Piranha

With the release of their debut album Cold Comfort, the London-based rock quartet Hana Piranha, comprised of Hana Maria (vocals, violin), James Bulbeck (guitar), Will Brown (bass) and Samuel de Brozie-Ward (drums) quickly developed a reputation across the UK for a sound that paired muscular power chord-based riffs, anthemic hooks, bursts of razor sharp violin and snarling vocals — and unsurprisingly their sound had been compared to Kittie covering AC/DC with a violin and Juliette Lewis as well as to their influences Garbage, Nine Inch Nails, Marilyn Manson, PJ Harvey and others.

Building upon the buzz that their debut received, the London-based quartet have been releasing singles off their sophomore album Fishing with Dynamite, and as you’ll hear with the album’s latest single “Slave,” the band  will further cement their reputation for crafting muscular goth-inspired rock with a seductive air and anthemic hooks but while subtly expanding upon their sound, as the song finds the band nodding at 70s glam rock. 

Directed and edited by Arron West, the recently released video splits between segments of the band performing the song in a dark studio with some highly symbolic, BDSM-based imagery. 

Belovedx is a mysterious Toronto, ON-based electro pop act, that specializes in a sound that they described to me as dark, melodic pop/electro pop with an alternative edge, along the lines of Banks, The Neighbourhood, Travis Scott, 6lack, Deftones and Marilyn Manson among others — and with “Higher,” off their latest effort, Love x Songs, the act’s sound manages to reveal both a slick and contemporary electronic production featuring slick, yet rousing hooks paired with boom-bap drum beats,  cascading layers of shimmering synths, plaintive vocals. But just underneath the surface is a swooning Romanticism.

Initially comprised of founding member Al Jourgensen (vocals and guitar), Stephen George (drums), Robert Roberts (keys) and John Davis (keys), the renowned and influential Chicago, IL-based industrial metal/industrial electronic act Ministry began as a New Wave synth pop act that released several 12 inch singles through Wax Trax! Records between 1981-1984. And after a series of lineup changes that included a deeper focus on the band’s founding duo of Jourgensen and George, and a radical change in sonic direction that lead to the aggressive and abrasive sound that later inspired the likes of Marilyn Manson, Nine Inch Nails ,KMFDM and others.

This Friday will mark the limited release of the long-awaited Trax! Rarities double album featuring rare, early tracks and versions of songs from Wax Trax! Records-era Ministry and unreleased material from Al Jourgensen’s related side projects including Revolting Cocks, PTP, Pailhead and 1000 Homo DJs through Cleopatra Records. And we’ve got three tracks from the Trax! Rarities collection — the A Flock of Seagulls meets Roxy Music-like demo version of “The Game Is Over,” which reveals that even with a completely different sound that Jourgensen, his late bandmate George and company had an uncanny ability to write an incredibly anthemic hook paired with shimmering guitars and a propulsive groove;  the mid 80s New Order and Depeche Mode-nodding “I See Red,” which is not only a dance-floor friendly song but manages to be a more conscious move towards something resembling industrial electronic music; and lastly, “Same Old Madness,” which strangely enough, bears an uncanny resemblance to Freedom of Choice-era DEVO. Of course, while the compilation will be a must have for die-hard fans and completetists, it’s a revealing look into how a band’s sound and aesthetic can morph from making them a mere footnote of a particular time into one of the more influential bands of their generation.

 

 

 

 

 

New Audio: New Project featuring Oasis’ and The Who’s Drummer Releases a Blistering Cover of The Sex Pistols’ “Problems”

Comprised of vocalist Sshh Liguz and Zak Starkey, Ringo Starr’s son and a touring drummer for Oasis and The Who, SSHH is a musical project in which the duo of Liguz and Starkey recruited some of the most renowned rhythm sections in rock history — including members of The Sex Pistols, Mott the Hoople, the backing bands of Marilyn Manson and Peter Tosh — to record a bunch of covers to benefit charity, an album entitled ISSUES. And the first single is a blistering and forceful cover of The Sex Pistols’ “Problems” featuring The Sex Pistols’ Glen Matlock (bass) and Paul Cook (drums). And while fairly straightforward, the song should remind the listener of how influential the material off Never Mind The Bollocks, Here’s The Sex Pistols remains, as well as how timeless the material is — so timeless that most of the songs manage to feel and sound contemporary.