Tag: Nine Inch Nails

New Audio: JOVM Mainstay TOBACCO Returns with a Gauzy Pop Hook-Driven Single

Over the course of this site’s ten-plus year history, I’ve spilled quite a bit of virtual ink covering Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter Thomas Fec, best known as TOBACCO. During his two-plus decade music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement, pleasure, and menace as the frontman and creative mastermind of JOVM mainstays Black Moth Super Rainbow, as a solo artist and through his production work with other like-minded artists.

Since the 2016 release of Fec’s fourth TOBACCO album Sweatbox Dynasty, the JOVM mainstay has been incredibly busy: Fec reconvened with the members of Black Moth Super Rainbow to write and record the gauzy fwhich was supported with tours with The Stargazer Lilies and Nine Inch Nails. Last year, Fec produced The Stargazer Lilies’ abrasive and trippy Occabot — and he collaborated with Aesop Rock in Malibu Ken, a project that released their critically applauded debut album. Additionally, TOBACCO penned the theme song to HBO’s Silicon Valley.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured Fec’s woozy and scuzzy take on Eric Carmen‘s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy.

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

I’ve managed to write about two of the album’s first three singles so far: Hot Wet & Sassy’s second single, “Babysitter,” a collaboration with Nine Inch Nails’ mastermind and fellow Pennsylvanian Trent Reznor, which was a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a rusty manual lawnmower through someone’s carpet paired with laser hot hi-hats, thumping tumps, scorching synths, gurgling and bubbling hiss and distortion and the most accessible, pop-leaning hooks of Fec’s recorded output. The album’s third single “Jinmeknen,” was a slow-burning and atmospheric Quiet Storm-like ballad of sorts centered around glistening synth arpeggios, bouncy beats, Fec’s heavily vocoder’ed vocals and some of the most earnest songwriting of his lengthy — and often extremely weird — career.

“Headless to Headless,” Hot Wet & Sassy’s fourth and latest single clocks in at a little under three minutes and is centered around glistening synth arpeggios,. blown out stuttering beats, brief staccato bursts of forcefully buzzing guitar, Fec’s heavily vocoder’d vocals and some infectious hooks. And while arguably being one of the album’s more gauzier songs, it sounds a bit like a mm murky and downright swampy take on 80s R&B — the drumbeats at point remind me of Cherelle’s “I Didn’t Mean to Turn You On” for some reason. Much like the previously released singles, the track sees the JOVM mainstay playfully refining his overall sound without scrubbing or altering the weird elements that have won him attention across the blogosphere and elsewhere.

New Audio: JOVM Mainstay TOBACCO Releases a Glistening Pop-Inspired Ballad (Of Sorts)

Best known as TOBACCO, Thomas Fec is a a Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter, and throughout his two decade-plus music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure as the frontman and creative mastermind of Black Moth Super Rainbow, as a solo artist and through his production work.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured Fec’s woozy and scuzzy take on Eric Carmen‘s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy.

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

Last month, I wrote about Hot Wet & Sassy’s second single, “Babysitter,” a collaboration with Nine Inch Nails’ mastermind and fellow Pennsylvanian Trent Reznor — and the song was a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a rusty manual lawnmower through someone’s carpet: hot hi-hats and thumping toms battle against scorching synths and gurgling and bubbling hiss and distortion paired with some of the most accessible, pop-leaning hooks of Fec’s career. “This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further,” adds Fec.

“Jinmenken,” Hot Wet & Sassy’s latest single is a slow-burning and atmospheric Quiet Storm-like ballad of sorts, featuring glistening and twinkling synth arpeggios, bouncy beats, and Fec’s vocoder’ed vocals. Somewhat downcast and woozy, the track is centered around what may arguably be some of the JOVM mainstay’s most earnest songwriting of his lengthy — and often very weird — career. To my ears, the track seems to mischievously nod at 80s synth pop ballads. “It’s me trying to write a Jets song,” Fec says.

The official visualizer is prototypical Tobacco: surreal, hilarious, creepy and dystopian — and in a way that feels familiar.

New Video: JOVM Mainstay TOBACCO and Nine Inch Nails’ Trent Reznor Reimagine a Beloved 80s Character in Creepy Visual for “Babysitter”

Thomas Fec, a.k.a TOBACCO is a Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter, and throughout his two decade-plus music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure as the frontman and creative mastermind of Black Moth Super Rainbow, as a solo artist and through his production work.

2016 saw the release of Fec’s fourth TOBACCO album Sweatbox Dynasty — and since then the JOVM mainstay has been incredibly busy. TOBACCO reconvened Black Moth Super Rainbow to write and record gauzy 2018’s Panic Blooms, which was supported with tours with The Stargazer Lilies and Nine Inch Nails. Last year saw the JOVM mainstay producing The Stargazer Lilies’ abrasive and trippy Occabot — and he collaborated with Aesop Rock in Malibu Ken, a project that released their critically applauded debut album. And additionally, TOBACCO penned the theme song to HBO’s Silicon Valley.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured the Pittsburgh-based singer/songwriter, multi-instrumentalist and producer’s woozy and scuzzy take on Eric Carmen‘s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy,

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

Interestingly, the album’s second and latest single “Babysitter” finds Fec teaming up with Nine Inch Nails’ mastermind and fellow Pennsylvanian Trent Reznor— and the end result is a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a rusty manual lawnmower through someone’s carpet. In other words:  hot hi-hats, thumping toms battle against scorched synths and gurgling and bubbling hiss and distortion. And yet, the song strangely enough manages to have some of the most accessible, pop-leaning hooks of Fec’s career — while clocking in at a radio friendly 2:19. “This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further,” adds Fec.

Co-directed by the JOVM mainstay, along with the seven fields of aphelion, Eanna Holton and Max Almeida and featuring industrial design by Chris Grondi, the recently released video for “Babysitter” stars a beloved 80s movie character — The NeverEnding Story’s Falcor!  — in an unusual role: being a murky, late night creep outside of an extremely suburban home. He’s the babysitter, alright; the sort that would watch you as your sleep from just outside your window. 

New Audio: JOVM Mainstay TOBACCO Teams Up With Trent Reznor on the Menacing and Infectious “Babysitter”

Thomas Fec, a.k.a TOBACCO is a Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter, and throughout his two decade-plus music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure as the frontman and creative mastermind of Black Moth Super Rainbow, as a solo artist and through his production work. 

2016 saw the release of Fec’s fourth TOBACCO album Sweatbox Dynasty — and since then the JOVM mainstay has been incredibly busy. TOBACCO reconvened Black Moth Super Rainbow to write and record 2018’s Panic Blooms, which was supported with tours with The Stargazer Lilies and Nine Inch Nails. Last year saw the JOVM mainstay producing The Stargazer Lilies’ abrasive and trippy Occabot — and he collaborated with Aesop Rock in Malibu Ken, a project that released their critically applauded debut album. And additionally, TOBACCO penned the theme song to HBO’s Silicon Valley.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured the Pittsburgh-based singer/songwriter, multi-instrumentalist and producer’s woozy and scuzzy take on Eric Carmen’s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy,

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

Interestingly, the album’s second and latest single “Babysitter” finds Fec teaming up with Nine Inch Nails’ mastermind Trent Reznor — and the end result is a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a  rusty manual lawnmower through someone’s carpet. In other words:  hot hi-hats, thumping toms battle against scorched synths and gurgling and bubbling hiss and distortion. And yet, the song strangely enough manages to have some of the most accessible, pop-leaning hooks of Fec’s career. “This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further,” adds Fec.

CARRÉ · Freeform

If you’ve been following this site over the past few months, you may know that Carré is a rapidly rising Los Angeles-based indie electro rock act featuring:

  • Julien Boyé (drums, percussion, vocals): Boyé has had stints as a touring member of Nouvelle Vague and James Supercave. Additionally, he has a solo recording act Acoustic Resistance, in which he employs rare instruments, which he has collected from all over the world.
  • Jules de Gasperis (drums, vocals, synths, production and mixing): de Gasperis is a Paris-born, Los Angeles-based studio owner. Growing up in Paris, he sharpened his knowledge of synthesizers, looping machines and other electronics around the same time that Justice, Soulwax and Ed Banger Records exploded into the mainstream.
  • Kevin Baudouin (guitar, vocals, synth, production): Baudouin has lived in Los Angeles the longest of the trio — 10 years — and he has played with a number of psych rock acts, developing a uniquely edgy approach to guitar, influenced by Nels Cline, Jonny Greenwood and Marc Ribot.

Deriving their name for the French word for “square,” “playing tight” and “on point,” the Los Angeles-based trio formed last year — and as the band’s Jules de Gasperis explains in press notes, “The making of our band started with this whole idea of having two drummers perform together. It felt like a statement. We always wanted to keep people moving and tend to focus on the beats first when we write.”

The act specializes in a French electronica-inspired sound that blends aggressive, dark and chaotic elements with hypnotic drum loops. Thematically, their work generally touches upon conception, abstraction and distortion of reality through a surrealistic outlook of our world. Visually, their work features geometric shapes and patterns.

The French-born, Los Angeles-based trio’s self-titled EP is slated for a Friday release through Nomad Eel Records — and so far, I’ve written about “This is not a band,” a propulsive club banger that brought Factory Floor, The Rapture, Primal Scream, Kasabian, The Chemical Brothers and The Crystal Method to mind—  and the Ministry and early Nine Inch Nails-like “Urgency.” “Freeform,” the EP’s latest single is decidedly free flowing and improvised jam centered around glistening synth arpeggios, shimmering blasts of guitar an insistent motorik groove, hi-hat led four-on-the-floor, ethereal samples and vocodered vocals. And while the song sonically brings Uncanny Valley-era Midnight JuggernautsTour de France-era Kraftwerk and Primal Scream to mind, it also reveals an incredibly tight band of musicians, who are pushing each other and their work into new and trippy dimensions.

 

Notelle · Bugs

Notelle is a Nashville-based singer/songwriter, topliner and pop artist, who has worked with an eclectic array of DJs and producer across the globe since 2014. Her work as a songwriter and vocalist has amassed over 12 million Spotify streams — with her material appearing on a number of playlists including Spotify‘s FreshEDM, Hot New Dance, Friday Cratediggers, Heart Beats, Sad Beats, Pop Chillout, Study Break, Fresh Finds, Fresh Finds: Poptronix, Italians Do It Better, Shisha Lounge, Stepping Out, New Music Fridays and Deep Delight, as well as Apple Music‘s Pop Rising and Breaking Dance playlists. Adding to a growing profile, the Nashville-based singer/songwriter, topliner and pop artist has been covered by EDM.com and has received airplay on Sirius XM Radio.

Throughout her career, the Nashville-based artist has signed and released material on 15 different electronic music labels including Armada, Monstercat, Proximity, Lowly, Hinky, AtLast, Seeking Blue, Thrive Music, Ultra Music, Ophelia and Knight Vision (Warner Music) — while remaining fiercely independent.

After spending the past handful of years as a go-to collaborator, the Nashville-based singer/songwriter and pop artist has decided to step out into the spotlight as a solo artist: over the past year, she’s been writing material and honing her take on “dark industrial pop” while catching the attention of Nashville Scene as a Nashville Artist to Watch in 2020. Building upon the rapidly growing buzz surrounding her, her solo debut single “Power” premiered on Lightning 100‘s The 615 and her third “Out of Love” was put on the station’s regular rotation.

“Beyond The Grave” found Notelle exploring a grittier sound than her previously released material, while fearlessly eschewing standard pop song structures and defying genre conventions and this has helped the Nashville-based artist develop a reputation for crafting forward-thinking, difficult to categorize pop. Interestingly, within the first couple of weeks of the song’s release, the track landed on Spotify’s “Study Break,” “Fresh Finds” and Fresh Finds: Poptronix” lists organically.

Earlier this year, I wrote about “Alive.” The Nine Inch Nails and Billie Eilish-like track continued a remarkable run of slickly produced, genre-defying, sultry pop with elements of industrial electronica, alternative pop and trip hop centered around fearlessly adventurous and ambitious songwriting based around unsettling personal experience. The Nashville-based artist’s latest single “Bugs” is a dark and seductive song centered around wobbling synths, handclap-led percussion, thumping beats, a distorted string sample, an infectious hook and Notelle’s sultry cooing — and while radio friendly, the song feels a bit like the creeping, anxious dread of a bad trip.

“I wrote ‘Bugs’ during a break up where it felt like that person was still in my body in some capacity,” Notelle says in press notes. “The impact of someone else’s choices left literal and metaphorical residue on me, and I felt dirty. I kept imagining it as a bad hallucination – like bugs. Was this person capable of hurting me more? Was the worst of it over? Or was another bomb going to be dropped on me when I felt like I was out of the woods? I wanted this song to embody that level of paranoia, you know? When you check behind doors or shower curtains when you’re alone in your house – or when you can’t tell if the noises in you hear in the silence are in your head or are real. That’s a bizarre place to be, and ultimately, I came to the conclusion that I wasn’t out of my mind. In fact, they were.”

New Audio: JOVM Mainstay TOBACCO Releases a Woozy and Menacing Cover of a Beloved 80s Classic

Over the past two decades, the Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter Thomas Fec, best known as TOBACCO has used analog synthesizers and tape machines as as the frontman and creative mastermind of Black Moth Super Rainbow and as solo artist to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure.  

2016 saw the release of TOBACCO’S fourth solo album, Sweatbox Dynasty — and since then the JOVM mainstay has been incredibly busy: TOBACCO and the members of his primary gig, Black Moth Super Rainbow reconvened to write and record 2018’s Panic Blooms, which was supported with tours with frequent tour mates The Stargazer Lilies and Nine Inch Nails. He went on to produce The Stargazers Lilies’ abrasive yet trippy Occabot and collaborated with Aesop Rock in Malibu Ken, a project that released a critically applauded album. Additionally, TOBACCO penned the theme song to HBO’s Silicon Valley. 

TOBACCO’s first batch of new, solo material is the “Hungry Eyes”/”Can’t Count On Her” 7 inch, which was recently released through Ghostly International. Unless you’ve lived in a cave for the past 35 years or you’re 17, you know that the Franke Previte and John DeNicola co-written “Hungry Eyes” performed by Eric Carmen appears in an important scene of the 80s classic Dirty Dancing. The Pittsburgh-based JOVM mainstay has been covering “Hungry Eyes” in recent live sets — but before that, it appeared in a Pokemon porn parody. 

Interestingly, TOBACCO’s take on the 80s pop hit retains the original’s beloved and familiar melody and structure intact but while fucking with its texture in his characteristically sludgy and woozy style, centered around blown out bass, scuzzy synth arpeggios, analog gurgle and hiss and Fec’s heavily vocoder’ed vocals. The end result is a cover that purposelessly smudges and obscures the original’s sentimentality in a way that’s uneasy and menacing. “I did ‘Hungry Eyes; because I just love it. It’s a perfect song,” Fec says in press notes. “I play it straightforward and stay mindful not to disrespect the original.”

Notelle is a Nashville-based singer/songwriter, topliner and pop artist, who has worked with an eclectic array of DJs and producer across the globe since 2014. The Nashville-based artist has managed to amass over 12 million Spotify streams as a writer and vocalist with her work appearing on Spotify‘s FreshEDM, Hot New Dance, Friday Cratediggers, Heart Beats, Sad Beats, Pop Chillout, Study Break, Fresh Finds, Fresh Finds: Poptronix, Italians Do It Better, Shisha Lounge, Stepping Out, New Music Fridays and Deep Delight Playlists, as well as Apple Music”s Pop Rising and Breaking Dance playlists. She has also been covered by EDM.com and received airplay on Sirius XM Radio. Additionally, the Nashville-based singer/songwriter and pop artist has signed and released material on 15 different electronic music labels, including Armada, Monstercat, Proximity, Lowly, Hinky, AtLast, Seeking Blue, Thrive Music, Ultra Music, Ophelia and Knight Vision (Warner Music) — while remaining fiercely independent.

After spending the past handful of years as a go-to collaborator, the Nashville-based singer/songwriter and pop artist has decided to step out into the spotlight as a solo artist: over the past year, she’s been writing material and honing her take on “dark industrial pop” while catching the attention of Nashville Scene as a Nashville Artist to Watch in 2020. Building upon the rapidly growing buzz surrounding her, her solo debut single “Power” premiered on Lightning 100‘s The 615 and her third “Out of Love” was put on the station’s regular rotation.

“Beyond The Grave” found Notelle exploring a grittier sound than her previously released material, while fearlessly eschewing standard pop song structures and defying genre conventions and this has helped the Nashville-based artist develop a reputation for crafting forward-thinking, difficult to categorize pop. Interestingly, within the first couple of weeks of the song’s release, the track landed on Spotify’s “Study Break,” “Fresh Finds” and Fresh Finds: Poptronix” lists organically.

Notelle’s latest and recently released single ” Alive” continues a run of slickly produced, genre-defying and remarkably sultry pop, featuring elements of industrial electronica, alternative pop and trip hop. And while being centered around the Nashville-based pop artist’s whispered cooing, wobbling low-end, shimmering and twinkling synth arpeggios and industrial clang and clatter, the track finds Notelle further honing a darkly seductive and eerie sound that seemingly draws from Nine Inch Nails and Billie Eilish. But what sets the Nashville-based artist and her latest single apart from her contemporaries is the fact that “Alive” reveals fearlessly adventurous and ambitious songwriting rooted in deeply unsettling personal experience.

“There’s a point in hysteria where you begin to feel electrified. When you love someone who is pushing you to the brink of insanity, it has a way of making you feel more than you’ve ever felt prior. You experience every emotion, all at once, in such an alarming way,” says Notelle, “and I wanted to explore that in this track. I’ve been in a situation before where someone was questioning my own perception of reality, telling me that my understanding of what was going on wasn’t accurate — lying to me, gaslighting me. It pushed me to an emotional breaking point that was totally new. It felt like I had shot up adrenaline and it was startling and liberating at the same time. Straddling the line between total madness and invigorating emotional depth, I realized that this was unbelievably toxic, yet I had never felt more alive.”