Tag: Nine Inch Nails

Grant Goldsworthy is a Central Pennsylvania-based multi-instrumentalist and singer/songwriter, who over the past 15 years has played with a number of bands across Pennsylvania, Washington DC, Boston and New York — and with his latest project, Snow Villain, which he started in 2015, Goldsworthy began collaborating with a rotating cast of musicians from Philadelphia, Harrisburg, PA and NYC. Although some have said that Snow Villain’s sound nods at Death Cab for Cutie, Smashing Pumpkins, St. Vincent, Nine Inch Nails, Weezer, Ween and Beck, the project’s latest single “Torches.” off the forthcoming EP 1 strikes me as nodding heavily at early Rage Against the Machine, as the song is centered around enormous power chords, rousingly anthemic hooks, and politically-charged lyrics delivered with a swaggering, hip-hop like flow.

 

 

 

 

 

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Comprised of Stefano Bellerba (vocals, guitar), Leonardo Mori (synth), Matteo Luciani (bass), Saverio Paiella (guitar) and Daniele Cruccolini, the members of the Terni, Italy-based post-punk quintet Japan Suicide met and bonded over their mutual love of Joy Division, The Cure, Nine Inch Nails and Depeche Mode — but they also cite the likes of Bauhaus, Siouxsie and the Banshees, Yeah Yeah Yeahs, Japan, The Damned, Interpol, Suicide, CSI, CCCP and Massimo Volume as being major influences on their sound and songwriting approach. With the release of 2015’s We Die In Such a Place, 2016’s 1978 EP, and the appearance of “This Be The Verse” on Darkitalia’Sparkles in the Dark, Vol. 4 compilation, the Italian post punk quintet have received both national and international attention as one of their homeland’s best, contemporary indie rock/post punk bands.

Building on their growing profile, Japan Suicide’s third full-length effort Santa Sangre is slated for a February 14, 2018 release through Unknown Pleasures Records, and while the album’s first single “Circle” will further cement the band’s reputation for crafting material heavily indebted to early 80s post punk, it reveals a band that has been gently expanding upon their sound with nods to shoegaze and industrial rock as the band pairs fuzzy and angular guitar chords, thundering drumming, merrily twinkling synths and a soaring hook to evoke a creeping yet uncertain dread.

 

Comprised of Mark Ryan, a member of bands like The Marked Men, High Tension Wires and Radioactivity, along with Baptist Generals‘ Peter Salisbury (synths) and The Marked Men’s Mike Throneberry (drums), the Fort Worth, TX-based synth punk act Mind Spiders is a decided sonic left turn from each of the individual members’ various projects  — with their forthcoming album Furies, reportedly being the project’s most electronic leaning album to date. And as you’ll hear from the album’s first single, album title track “Furies” is an urgent, post apocalyptic industrial rock track, complete with layers of buzzing synths, propulsive drum programming, howled vocals and a mosh pit worthy hook reminiscent of Ministry and Nine Inch Nails; but underneath the urgency of the song is a healthy sense of panic and dread — the sort of panic and dread of our impending doom, as a cabal of dangerous and greedy idiots fuck up everything we’ve ever loved or valued.

Look for the album on January 26, 2018 through Dirtnap Records.

New Audio: Introducing the Industrial Post-Punk Sounds of Springfield, MO’s Kudzu

Publicly citing Tears for Fears, The Cure, Spectrum, Guided by Voices, Sympathy Nervous and This Heat as major influences, the Springfield, MO-based synth wave/synth punk duo Kudzu, comprised of Seth Goodwin (vocals, synths, drum programming) and Mark Gillenwaters (vocals, guitar) will be releasing their forthcoming full-length album Defeated on March 2, 2018 through Push & Pull Records. And reportedly, the album’s 9 songs come from several layers of disenchantment and frustration — first with their local punk and DIY scenes, which has resulted in a general dissociation from them and second, the stark reality of life in the Ozarks. As the band’s Mark Gillenwaters explains in press notes “I feel like there is a type of alienation you can harbor in a place like this that lends itself to bleak music. I like to treat lyrics as more emotional than literal, so some lyrics might not make sense but still convey the emotion I’m trying to present.” 

“Some Cops,” the latest single off the band’s forthcoming album finds the duo drawing from the likes of Ministry, PIL and early Nine Inch Nails as it features layers of buzzing, analog synths, slashing and buzzing power chords, propulsive yet forceful drum programming and an anthemic hook — and while clearly being mosh pit friendly, the song bristles and snarls with a pent up frustration at its core. 

New Video: Surreal and Cinematic Visuals for The Horrors “Something to Remember Me By” Feature Hilarious Commentary on Fame and Consumerism

Over the past five or six years of this site’s history, I’ve written quite a bit about the London, UK-based indie rock quintet and JOVM mainstays The Horrors. And as you may recall, the British blogosphere darlings comprised of of Faris Badwan (vocals), Joshua Hayward (guitar), Tom Cowan (aka Tom Furse) (keys and synths), Rhys Webb (bass) and Joe Spurgeon (drums, percussion), can trace their origins back to the early 00s, and to a shared interest in obscure vinyl collecting, DJ’ing, and a mutual love of 60s garage rock, and 70s and 80s New Wave and post-punk — in particular, The Birthday Party and Bauhaus. In fact, as the story goes, the band’s founding trio met during repeated trips back and forth between their hometown from their hometown Southend-on-Sea and London.

By 2005, the British indie rock band’s founding trio recruited Haywood and Spurgeon to complete the band’s lineup and began rehearsing, and reportedly their first rehearsal together featured two covers — The Sonics’ “The Witch” and Screaming Lord Sutch’s “Jack the Ripper,” interpreted in the tradition of previous garage rock covers such as those by The Fuzztones, The Gruesomes and others. Unsurprisingly, their 2007 debut, Strange House featured their garage rock take on “Jack the Ripper” as its opening track; however, it was the album’s first two official singles “Sheena Is a Parasite” and “Death at the Chapel” that caught the attention of music journalists, music critics and fans. And since then, each of the band’s albums — their aforementioned 2007 debut, 2009’s Primary Colours, 2011’s Skying and 2014’s Luminous — have garnered both critical praise and commercial success, as they have all charted within the UK Top 40. Along with that, Skying and Luminous received international attention, including attention from this site.

V, The Horrors’ aptly titled fifth studio album was released last week through Wolftone Records/Caroline Records and while being the band’s first batch of material in three years, the Paul Epworth-produced album finds the band experimenting and expanding with the sound that’s won them national and international attention over the past two albums; in fact, the album’s first official single “Machine” seems to have the British indie rockers incorporating elements of the Manchester sound — in particular, Evil Heat-era Primal Scream, the abrasive, industrial electronica of Nine Inch Nails and Earthling-era David Bowie while retaining the band’s rousing and anthemic hooks; but by far, the song may be among the most swaggering and assertive songs of their growing catalog.

“Something to Remember Me By,” V’s second and is a propulsive, dance floor-friendly track that features a sinuous bass line paired with shimmering and cascading layers of synths, four-on-the floor drumming and a soaring hook — and to my ears, the track seems to have the band drawing influence from late period New Order — i.e., Get Ready and Music Complete — with an underlying, swooning Romanticism, making it arguably their most instantly memorable song they’ve released to date.

Directed by Max Weiland, the recently released video for V’s second single is a cinematic and weird video that directly comments society’s obsession with celebrity and the music industry’s attempt to take advantage of that, as Weiland explains in press notes. In the video, a strange and menacing mega-conglomerate uses the bandmembers’ desire for fame to harder their blood, sweat, tears, semen and more to make ridiculous consumer products for mass consumption — with the most hilarious one being The Horrors brand dildo. 

Coincidentally, the last few posts over the past 12 hours or so have been focused on long-time JOVM mainstays — and interestingly enough, the  London, UK-based indie rock quintet and JOVM mainstays The Horrors came back into my radar again, as they’re building up buzz for a brief Stateside tour that will include two NYC area dates at Rough Trade — September 18, 2017 and September 19, 2017 — and for their soon-to-be released fifth studio album, aptly titled V, which is slated for a September 22, 2017 release through  Wolftone Records/Caroline Records.

And while being the first batch of new material from the London-based JOVM mainstays, the Paul Epworth-produced album reportedly finds the band experimenting and expanding upon their sound — the album’s first official single “Machine” seemed to have the British indie rock quintet incorporating elements of the Manchester sound — in particular, Evil Heat-era Primal Scream with abrasive, industrial electronica, along the lines of Nine Inch Nails and Earthling-era David Bowie while retaining the band’s rousing and anthemic hooks to craft what may arguably be one of the most swaggering and assertive songs of their growing catalog. “Something to Remember Me By,” V’s second single was a propulsive, trance-inducing, dance floor-friendly track featuring a sinuous bass line paired with shimmering and cascading layers of synths, four-on-the floor drumming and a soaring hook in a song that nodded at Get ReadyWaiting for the Siren’s Call and Music Complete-era New Order, complete with a swooning romanticism.

“Weighed Down,” V‘s moody, third single nods at dub and dubstep and features a pulsing yet tweeter and woofer rocking electronic beat, squalling and squelching feedback, soaring keys, cosmic ray-like bursts and a hazily lysergic bridge before ending with an ethereal coda. Interestingly, while the song strikes me as a trippy yet fitting synthesis of the sound of Skying and Luminous but while revealing an expansive and experimental bit of songwriting with the band focusing on creating and sustaining a particular mood, much like Interpol‘s Antics.

The Horrors currently have three Stateside dates, and it includes two NYC area dates — September 18, 2017 and September 19, 2017 at Rough Trade. Check out the dates below.

The Horrors U.S. Tour Dates

Sep 16 Los Angeles, CA – Spaceland Block Party

Sep 18 Brooklyn, NY – Rough Trade NYC

Sep 19 Brooklyn, NY – Rough Trade NYC

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.

 

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. 

New Audio: JOVM Mainstays The Horrors Return With Their Most Dance Floor-Friendly and Trance-Inducing Song to Date

Over the past five or six years of this site’s history, I’ve written quite a bit about the London, UK-based indie rock quintet and JOVM mainstays The Horrors. And as you may recall, the British blogosphere darlings comprised of of Faris Badwan (vocals), Joshua Hayward (guitar), Tom Cowan (aka Tom Furse) (keys and synths), Rhys Webb (bass) and Joe Spurgeon (drums, percussion), can trace their origins back to the early 00s, and to a shared interest in obscure vinyl collecting, DJ’ing, and a mutual love of 60s garage rock, and 70s and 80s New Wave and post-punk — in particular, The Birthday Party and Bauhaus. In fact, as the story goes, the band’s founding trio met during repeated trips back and forth between their hometown from their hometown Southend-on-Sea and London.

By 2005, the British indie rock band’s founding trio recruited Haywood and Spurgeon to complete the band’s lineup and began rehearsing, and reportedly their first rehearsal together featured two covers — The Sonics’ “The Witch” and Screaming Lord Sutch’s “Jack the Ripper,” interpreted in the tradition of previous garage rock covers such as those by The Fuzztones, The Gruesomes and others. Unsurprisingly, their 2007 debut, Strange House featured their garage rock take on “Jack the Ripper” as its opening track; however, it was the album’s first two official singles “Sheena Is a Parasite” and “Death at the Chapel” that caught the attention of music journalists, music critics and fans. And since then, each of the band’s albums — their aforementioned 2007 debut, 2009’s Primary Colours, 2011’s Skying and 2014’s Luminous — have garnered both critical praise and commercial success, as they have all charted within the UK Top 40. Along with that, Skying and Luminous received international attention, including attention from this site. 

V, The Horrors’ aptly titled fifth studio album is slated for a September 22, 2017 release through  Wolftone Records/Caroline Records and while being the band’s first batch of material in three years, the Paul Epworth-produced album finds the band experimenting and expanding with the sound that’s won them national and international attention over the past two albums; in fact, the album’s first official single “Machine” seems to have the British indie rockers incorporating elements of the Manchester sound — in particular, Evil Heat-era Primal Scream, the abrasive, industrial electronica of Nine Inch Nails and Earthling-era David Bowie while retaining the band’s rousing and anthemic hooks; but by far, the song may be among the most swaggering and assertive songs of their growing catalog. 

“Something to Remember Me By,” V’s second and latest single is a propulsive  and trance-inducing, dance floor-friendly track that features a sinuous bass line paired with shimmering and cascading layers of synths, four-on-the floor drumming and a soaring hook — and to my ears, the latest track seems to have the band drawing influence from late period New Order — i.e., Get Ready and Music Complete — with an underlying, swooning Romanticism, making it arguably their most instantly memorable song they’ve released to date.