Posts Tagged ‘Cybergoth’

WMTID – Finding The Ai G-Spot

Posted: 2 March 2025 in Albums, Reviews
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1st March 2025

Christopher Nosniboir

Richard Rouska is something of a cult legend in his own lifetime: back in the 80s he was pivotal in the Leeds zine scene, documenting the emerging post-punk movement Leeds remains so renowned for, in real-time, subsequently writing a number of books. Along the way, he’s made some music of his own, recently making Well Martin This is Different his primary focus, with some prolific results. Finding The Ai G-Spot is WMTID’s fifth since their inception in the mid-late eighties, and serves up a set of remixes, with proceeds from any donations going to the Throat Cancer Fund.

And yes, it certainly is different, and that’s clear from the get-go. WMTID’s music is essentially electronica, but draws on a host of elements which have their origins in different decades and different scenes. I will admit that I misread the title as Finding The Ali G-Spot initially. Ai-iit! But while this album draws on a huge array of influences, you won’t find any naff cultural appropriations.

‘The Prince is Dead (Again)’ is a twisted hybrid of lo-fi post-punk, 80s electronic industrial (think Wax Trax! stuff in the late 80s / early 90s), space rock, and Krautrock, a motorik groove stricken through with some wild orchestral strikes and multi-layered vocals – and this is to an extent the template: ‘03:33 Time’s Up’ is exactly the same duration as the original version (‘333’) which appeared on I Know What You Are But Who Am I? in the Autumn of 2024, tweaked to optimise the hypnotic rhythm and detached-sounding vocals. The result is somewhere between DAF and early Human League. ‘Deep Down Low II’ – again reworking a track from I Know What You Are goes full-on techno / cybergoth stomper, with industrial-strength beats pounding away relentlessly. It works so well because it doesn’t take from the original, instead simply rendering it… more. More. MORE! And I want MORE!

There are hints of both KMFDM and very early New Order about ‘It’s (Another) Lovely Day’, but then, it’s as much a work of buoyant lo-fo indie and bedroom pop, while ‘Little Bombshells’ comes on a bit Prodigy, but again, a bit technoindustrial, and a bit kinda oddball, bleepy, bloopy, twitchy, stuttery, the vocals quavering in a wash of reverb as crashes of distortion detonate unexpectedly. Elsewhere, ‘Waiting For The End…’ goes dark and low and robotic, and ‘Three O’Clock Killer’ is hyperactive and warped, and brings menacing lyrics atop a baggy 90s beat.

It really is all going on here, and the end result feels like a wonderfully eclectic celebration of music, articulated through some quite simple compositions, all of which have solid grooves providing the backbone of each.

My general opinion of remix albums is widely documented and not entirely enthusiastic, but Finding The Ai G-Spot is a rare exception, mostly because it doesn’t feel like a remix album an doesn’t offer three or four unnecessary and unrecognisable versions of each song, boring the arse off all but the most obsessive fan. In fact, if you’re not up to speed on WMTID’s output – and there’s a fair chance you may not be, to be fair – Finding The Ai G-Spot offers a neat entry point and summarises the last couple of albums nicely, too.

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Listen: ‘Hallowed Be Thy Pain’ by Clockwork Echo

Posted: 1 July 2024 in Recommended Streams and Videos, Singles and EPs
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Industrial band, CLOCKWORK ECHO has just unleashed their highly-anticipated new single, ‘Hallowed Be Thy Pain’.

Laden with raw emotion and haunting revelations, ‘Hallowed Be Thy Pain’ delves deep into the themes of deceit, faith, and the far-reaching consequences of a single lie. The song’s lyrics are poignant and introspective, unravelling a story that intertwines personal guilt with collective delusion.  The song offers a powerful critique of faith, deception, and the human condition. It challenges listeners to question the narratives they have been fed and to seek the truth behind the comforting lies.

In a world where belief often triumphs over evidence, ‘Hallowed Be Thy Pain’ critiques the exploration of faith and the ease with which people are swayed by spiritual narratives, often lacking concrete evidence. Phrases such as ‘shadows in their eyes’ evoke a sense of collective blindness, a willingness to be deceived in exchange for spiritual comfort.

‘Hallowed Be Thy Pain’ serves as a haunting reminder of the fragile line between truth and fiction. As we navigate through the shadows of our own lives, may we find the courage to confront the lies we tell ourselves and others, and seek a path illuminated by truth and understanding.

Listen to this blasting stomper here:

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for all the emptiness – used and violated EP

Posted: 22 March 2023 in Singles and EPs
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Infacted

Christopher Nosnibor

Released at the end of 2022, the latest set from for all the emptiness is only now getting a major push. As the title suggests, this five-tracker is thematically centred around themes of use, abuse, pain and pleasure.

for all the emptiness describe themselves as exponents of ‘futurepop’, which is filtered with a range of other genres like 90s industrial rock to glitchcore, ebm, and more.

Musically, the title tracks is very much in the vein of early Nine Inch Nails – which in turn took cues from Depeche Mode when they started to explore fetishism circa 86 – but the songwriting style is more akin to PIG, and mines the catchy slogan-style hook favoured by Raymond Watts. But for all of the sweat and sleaze, there’s something curiously proper about this – specifically the enunciation of the lyrics. It’s particularly curious because Jonathan Kaplan – who records as for all the emptiness – hails from Ontario, but sings with preppy received pronunciation English. And so – my brain being prone to presenting images in response to sounds – envisages a Victorian gentleman with a handlebar moustache in a wrestling leotard as he sings of being ‘restrained and dominated’. Well, it’s well-known that for all of their straight-laced appearances, the Victorians were kinky buggers, and equally, it’s the public school types who are more likely to be into ‘alternative’ sexual proclivities in modern society.

It’s by far the most immediate track of the set, as the EP veers sharply in a more industrial dance / cybergoth direction.

‘dead inside’ is overtly dance-orientated, exploiting all of the classic breakdowns and drops, and goes all-out for the euphoric anthem, which contrasts with the hook ‘please forgive me as I die, I’ve always been dead inside’. ‘sell the sins’ is a proper bass-led technoindustrial stomper, while the last track, ‘at the brink’ is more 80s electropop and reveals a more sensitive aspect: it’s the most nuanced and probably the strongest of the collection.

While it does exist very much within the domain of the genres from which it draws inspiration, there’s some interesting stuff happening here, and not just Victorian wrestling.

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Impulse Control Disorder – Retroject

Posted: 9 January 2022 in Albums
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26th November 2021

James Wells

This one’s been a looooong time in the making. Like so many other creative projects, the pandemic compelled Frank Svornotten to get his shit together to revive a project that to all intents and purposes was dead and buried, and to see it to completion.

As the bio that accompanies Retroject explains, ‘Retroject is an album that was begun in 2001 but has just seen the light of day in 2021. Some of the songs may feel nostalgic and dated and that is because, well, they are!!! An excess of free time during the Covid-19 pandemic eventually grew tiresome and monotonous. So, it was decided to finish the album that had begun many years prior!’

Much as I sympathise with all of the people unable to work during lockdown, and all of the furloughed workers who struggled on reduced salaries, I can’t help but be a shade envious of all of these people who found themselves with an abundance of free time to explore creative avenues. Having a dayjob that meant working from home was entirely feasible, meaning that it was business as usual, but with home schooling on top thanks to the closure of schools, I found myself with less time than ever, and I couldn’t even go to a gig or hit the pub to unwind after.

Retroject certainly isn’t an album to unwind to, either. It’s a gnarly electogoth effort, with hefty dollops of early NIN and the signature Wax Trax! electro sound providing much of the influence there. ‘W.H.A.T’ could easily be mistaken for an outtake from Ministry’s Twitch, and would also have easily made the cut for a Wax Trax! single release in the late 80s / early 90s, while ‘Love, Hate and Machines’ really brings that KMFDM vibe and slams it in hard with some cybergoth dance grooves. Elsewhere, ‘Train Song’ is pure pop and is more Aha than aggrotech.

Some of the tunes may sound a shade dated (‘Mysterious Angel’ sounds like Depeche Mode circa 1981, which is particularly eye-opening for material from 2001), but then again, there are acts still cranking out material that sounds exactly like this, and there are some real industrial stompers along the way, and these never tire or grow old, regardless of the instrumentation, regardless of how tinny or trebly the synths sound. What matters, ultimately, are the songs, and Retroject packs some real bangers, propelled by throbbing synths and splenetic rage.

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Vexillary – Full Frontal Lunacy

Posted: 21 November 2021 in Albums
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31st October 2021

Christopher Nosnibor

The liner notes for this new outing from Vexillary proffer a rhetorical question that sounds like the start of a semi-intellectual joke: ‘What do you get when you mix a long winter with a pandemic of a lifetime and a bunch of synths lying around? The cabin fever stemming from an endless lockdown and the resulting mental demise? According to Vexillary, the perfect backdrop for a sonic self-portrait documenting one’s brush with madness.’

It’s probably fair to say that many of us have lost the plot top varying extents and in differing ways over the last couple of years, and we’ve all struggled in various ways, be it from lockdown isolation, bereavement, monetary worries, the pressure of confinement, being physically vulnerable, or scared for the future, or returning to ‘normality’ – and while anything resembling the normality we knew back in 2019 feels like a lifetime away if ever, simply resuming social interaction brings with it for many a tidal wave of anxiety.

No doubt the cabin fever that prompted the evolution of Full Frontal Lunacy will be relatable for many, myself included. Despite the comparative luxury of a back yard bit enough so sit out in and even to accommodate a paddling pool for a family of three to manage working from home and home schooling, things felt a bit claustrophobic at times, and there were many living in inner city environments and high-rise accommodation with many more people and considerably less space.

But what of the title? Full frontal carries the connotations of exposure, more in a movie / porn context than anything. That is precisely where Vexillary is coming from, of course. Social media has provided the platform where everyone airs all their grievances and let it all hang out, for better or for worse, and for many, among the food porn and actual porn, misery porn and trauma porn has been a source of entertainment since the world lost the plot and spiralled into pandemic psychosis. Full Frontal Lunacy is effectively the musical equivalent of getting your cock out on a global platform, with all things mental health and more out there on display for all to see. Trouble is, for many, it’s probably less embarrassing to get your cock out than to discuss your feeling, and so it’s a bold move, but one that sets an example and sends a message that it’s not only ok to confront these things, but vital that we share them.

It’s perhaps no surprise that the album is dominated by themes of confinement, torture, and mania, manifesting in various forms, and compressed concisely into eight slabs of dense dark, industrial-strength disco. Driven by big beats and booming bass, this is a banger in the obvious sense, although those basslines snake and grind , and the vocals are submerged in reverb or otherwise heavily treated. The ‘Scorched Mix’ of ‘Burnt Leather’ is dark and stark, sleazy and tense. The title track sounds like an outtake from Ministry’s Twitch; agitated electro cranked up and gnarly, with pulverising percussion all the way.

‘The Descent’ is dark, deep, hypnotic and follows the signature styling of repetitive motifs; ‘Absinthe Minded’ speaks – albeit not entirely coherently, conveying a mood more than a message – of self-medication, addlement and struggling through, pushing onwards toward the spacey dance of closer ‘Exit the Void’, which brings hints of Depeche Mode to the dark dance party.

Full Frontal Lunacy has a coherence and stylistic unity, but also feel like a work that’s both exploratory and urgent. It’s not an easy album, but it’s a good one.

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Inertia – Dream Machine

Posted: 1 January 2018 in Albums
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Metropolis Records – 13th October 2017

Christopher Nosnibor

I’ve lost count of how many bands and songs I’ve encountered that reference ‘dream machine.’ The first was perhaps back in maybe 1992, aged seventeen, on purchasing Scenes from the Second Story by The God Machine. Although I had read Naked Lunch, Junky, and Queer (which was the limit of William Burroughs material available in my local Waterstones), I had yet to discover the weirder and more wonderful, experimental side of Burroughs, let alone his accomplice Brion Gysin, who was as responsible for the advent of the cut-ups as Burroughs himself. It was electronics technician, computer programmer, and peripheral Beat Generation associate, Ian Sommerville who invented the stroboscopic device know as the Dream Machine in 1960. I do sometimes wonder how many of those references to Dream Machines are aware of its origin and history, but given Burroughs’ popularity in industrial / related circles, the chances are probably fairly high. Which then leads to the question – just how much is this about trip, and how much about hip?

Inertia have been kicking out technoindustrial tunage for almost two and a half decades now. Over that time, they’ve acquired a respectable fanbase and released a slew of albums. As is always the case with the ‘goth’ scene, it’s all happened more or less invisibly, underground, and internationally rather than domestically.

Dream Machine is very much an album which follows established templates: insistent, bubbling synths heave and grind over thumping sequenced beats with a toppy edge and hard dancefloor edge. It’s solid, and it has tunes. It’s got the right balance of attack and melody, edge and groove. In fact, it’s pretty much back-to-back tracks you could get down to on the dancefloor at a goth night, and steel toe caps would be recommended.

The drum pattern at the start of ‘Only Law’ is a near-lift of the intro to ‘Burn’ by The Sisters of Mercy, before it all goes Music for the Masses Depeche Mode. It’s not just the insistent synths and jittery sequenced bass, or the hard-edged beats, but the soulful, melodic, backing vocals. Elsewhere, ‘Thorns’ goes Ministry circa Twitch. But for the most part, as is so often the case with longstanding technoindustrial acts, I hear Depeche Mode, with a dash of early Nine Inch Nails. I’m by no means averse to the sound, the style, or the influences: in fact, I’m a huge fan of both DM and NIN and have more Wax Trax! 12” than I could play in a week.

So where’s the beef? It’s all a bit samey. I feel like I’ve been listening to the same hardfloor techno-driven industrial-strength electro grooves for more than twenty-five years. Cybergoth, Darkwave, EBM, Aggrotech, Industrial Dance Music… the terminologies matter not. Some came, some went, but musically, it’s much of a muchness and I’m not up for debating the semantics of microgenre aesthetics.

Dream Machine is ok. It’s got some decent tunes. And it sounds like countess albums I’ve heard before.

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Intertia - Dream Machine