Synthpop/Industrial band, Distorted Reality has just unveiled the details of their new single, ‘I Can’t Imagine’, their first new music in sixteen years.
‘I Can’t Imagine’ addresses the idea of being in a relationship with someone for a long time while realizing the relationship is essentially over. No one wants to make the scary move of ending it. It’s a difficult and heartbreaking split because you both still love each other. In this case, however, love is not enough.
Listen here:
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Industrial bass artist, SINthetik Messiah returns with a controversial new single, ‘Know Your Enemy’.
The greatest threat to democracy in the USA is that of communism – not as a social ideology, but rather, one that is psychological in nature. In communist countries, people do not have freedoms or rights. They are modern day slaves who have been brainwashed to love their government.
But ‘Know Your Enemy’ is not about a war that is fought with a bullet, but rather, a war that starts in the enemy’s mind. That war in our minds is the USA’s greatest threat.
‘Know Your Enemy’ presents a blended sound that is inspired by EBM, Industrial Bass and Power Noise. The single also features remixes by SpankTheNun and Anthony H.
The single is available on all major streaming platforms including Bandcamp.
Watch the video here:
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Prague-based gothic rock band, Cathedral In Flames presents their new single, ‘Release The Pain’ – a hypnotic ballad about coping with pain and death. Gatsby’s throbbing bass and Ambra’s angelic vocals complement Phil’s vocals about the contemporary unlearning of the perception of death and pain through social media.
Vocalist, Phil Lee Fall says, “When the song was written, I was having a pretty bad time. I was taking long night walks through old Prague and I realized that all the people I meet are going to die sooner or later.”
And Gatsby adds: “’Release The Pain’ is a catharsis for our whole band. For me, there is so much emotion in this song that if it doesn’t knock you on your back, nothing will.”
A narrative music video was also created for the track, showing the band in the abandoned magical corners of Rudolphine’s Prague combined with the mystical hills above the contemporary city. Both sceneries are connected in the image and lyrics of the number 9 in various forms. 9 is the number of fulfilment, closure and completion. It also symbolizes the coming of age and the connection between dimensions and worlds on all levels.
Watch the video here:
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Ky is the new ‘solo’ project of Ky Brooks, best known as vocalist and lyricist of noise-punk trio Lungbutter and a slew of other Montréal-based out-music projects, including 8-person queer punk collective Femmaggots and experimental/improv trio Nag. Ky is a long-standing and shining figure of Montréal’s music underground: they co-founded essential Montréal DIY space La Plante a decade ago, and alongside playing and performing in all sorts of projects and contexts ever since, they’re also a recording and front-of-house sound engineer about town (and on the road with acts like Big|Brave).
‘The Dancer’ is one of the album’s standout electro tracks—in this case melded with the ‘band’ configuration that also features sporadically on Power Is The Pharmacy: guitarist Mat Ball (Big|Brave), bassist Joshua Frank (Gong Gong Gong), and drummer Farley Miller (Shining Wizard) join Ky and the album’s core electronics collaborator Nick Schofield on a song anchored by crisp, phased synth arpeggiation and ghostly pads. As the band kicks in with a wicked little whiplash rhythm, Ky walks a fine line between bemused irony and unadorned sincerity (as their abstemious poems-turned-lyrics so often do) while synth ostinatos and sheets of whitenoise guitar add momentum to the inexorable groove.
The video by Ky’s friend Eric Bent features an animated child learning to move and crawl and walk, through dance: an ode to the primordial immanence of moving to music, and a fitting companion piece to the album’s most danceable track and its lyrical literalism.
Listen to ‘The Dancer’ here:
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Ky photo by Stacy Lee
21st February 2023
There’s some debate as to whether or not they really ‘get’ ‘goth’ Stateside, favouring more vampire / horror cliché stylings to anything that defined the disparate ‘movement’ as it emerged from the bleak urban sprawls of England in the early 80s as a darker strand of post-punk. Admittedly, the fans were always the ones with the greater shared affinity rather than the first wave of bands, none of whom recognised the ‘goth’ tag and the ones still going still don’t to this day, but still, quite how or when it morphed into genre let alone a stereotype is unclear.
The Martyr’s sound is certainly rooted more in the UK post-punk sound than anything else – brittle guitars and a thudding drum machine call to mind Alien Sex Fiend, and all crunched into just two minutes and thirty-eight seconds – but at the same draws on dark electropop and dance elements – a dash of Depeche Mode, a hint of dark disco – to create something that’s both spiky and danceable.
Lyrically, it’s serious but at the same time isn’t too serious, and it’s certainly not corny or cliché, and if ‘My Friends Look Funny’ employs a number of common stylistic trappings of the hi—NRG dance end of contemporary goth, it’s different enough to be worth a listen.
New Zealand singer/producer/multi-instrumentalist Fazerdaze (real name: Amelia Murray) has shared an addictively hooky new song ‘Flood Into,’ making the previously vinyl-only track available across all platforms for the first time.
‘Flood Into’ appears on Fazerdaze’s first project in over five years – the powerful and cathartic ‘Break!’ EP – out now via section1.
Listen here:
In Amelia’s words, “‘Flood Into’ is about a deep love and loss, and the reclamation of myself at the end of that cycle. It’s the feeling of my own energy rushing to fill me back up again. I wrote Flood Into in anticipation of a break up. The song embodies all the melancholy I felt from letting go of someone I loved in order to walk my own path and learn to stand in my own frame again.”
Fazerdaze’s debut LP, 2017’s Morningside, launched Amelia onto the global stage with rave reviews from publications like Pitchfork and Mojo and tours to the other side of the world from her previous home base of Auckland. But the wheels were coming off behind the scenes. A combination of unhealthy personal relationships, feelings of unworthiness regarding her burgeoning success and general mental exhaustion soon began to manifest in her musical output; for years, Amelia found she couldn’t finish a single song. That is, until she relinquished resilience as a badge of honor and let herself crack open.
Break! was completed during a three-month long lockdown in NZ while Amelia was living in solitude for the first time, and directly in the aftermath of a nine year long relationship. Taking stock at an emotional bottom, the EP crafts an empowering portrait of surrender and personal reclamation. Break! is a vital release for Amelia, who wrote it whilst on a journey of rediscovery as both musician and human.
3rd March 2023
Christopher Nosnibor
Where does the time go? I type this with a rising panic in my chest, the same one which kicks me awake at 5:30 most mornings. I may often panic about the mounting chores and deadlines, the crumbling state of my house and cost for repairs, but mostly I panic about time and its passage. How is it 2023? How is it March already?
However much time you think you have, you always have so much less.
And so the arrival of the new break_fold album is something which both elates and trips me. It’s been six years almost to the month since the first break_fold release, 07_07_15 – 13_04_16 , which in turns reminds me it was thirteen years since Tim Hann’s previous musical venture, I Concur, were an active band. What happened? The simple answer is, of course, life. It happens when you’re not looking. It’s hard not to feel nostalgic for that time: it was a period of discovery. The Brudenell was still emerging as a venue, and putting on lots of local acts, and at the launch of their debut album, I Concur sounded immense, like they could be the next U2 – only not cocks and unencumbered by a Bono, of course. You get the idea. They were just SO good. But then… life. It gets ahead of you.
Tim Hann has been tinkering as break_fold for a while now, because ultimately creatives can’t simply stop creating, even if it’s at night working in the cupboard under the stairs or the shed. You can’t help it. However tired you are from work, life, parenting, there’s an itch that can’t be scratched any other way, and ultimately, it has to be done.
And it’s been done nicely here, a year on from the release of the single ‘Welwala’, which features on This Was Forever and again, I have to pinch myself. Again, a year already?
The title – and perhaps it’s just me – bears an element of melancholy. It was forever, but now…? Well, nothing is forever, and the realisation that something forever has a finite existence is something sad and regrettable. The title track spins together shimmering top synths over stuttering beats and rolling mid-range create a dynamic tension and a certain sense of drama.
This Was Forever is a set of solid instrumental electro with some deep grooves and some dark, jittering moments. It is, overall, easy on the ear, ‘Everything Affects Everything’ mines a dark seem that’s pure 80s movie soundtrack. Indeed, the vibe is strongly eighties for the most part, not least of all with the cracking snare sounds that drive some of the faster pieces – but then again, this type of one-man synth-based style is ultimately contemporary, possible due to the wealth of inexpensive software that has meant that making music is possible for anyone with a laptop. But with such availability, it means you have to be good to stand out. And break_fold’s output showcases Hann’s ear for atmosphere, for range, for texture and form.
‘Welwala’ is one of the album’s standouts, and packs some energy in a track that’s actually danceable, if you’re that way inclined. It’s a solid, meaty groove. Grooves and beats are perhaps the defining feature of This Was Forever, with the murky undercurrents of ‘Did I Say it or Just Think it?’ landing in the space between latter-day Depeche Mode and Ghosts-era Nine Inch Nails. At the lighter end of the scale is the buoyant ‘Mishby’ which bounces along in an overtly synthy-piano way, with the beats backed off a way.
This Was Forever is the kind of album you could pop on while working without getting distracted by it – and sometimes, that’s just the kind of album you need.
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Taken from their album ‘Apocalypse For Beginners’, Rabbit Junk have released ‘Nostromo’ as a taster of their bold technoindustrial/electropop/metal crossover sound.
Rabbit Junk draws subtle parallels between the challenges facing our species as a whole and the challenges facing our own personal lives. These challenges are characterized as foreseeable and yet tragically unavoidable. As such, the album communicates the fatalism and frustration of modernity alongside the lack of control we often feel over our own lives.
The album’s lead track “Stone Cold" (Feat. Amelia Arsenic) exemplifies Rabbit Junk’s willingness to take risks and defy genre norms. “Stone Cold” is a gender-fluid and genre-mashing anthem with an infectious sing-a-long chorus. The song featuries lyrics in both German and English delivered by masculine and feminine vocal textures floating over a mélange of punk, drum & bass, metal, and hip hop.
Other standout tracks include “Nostromo”, a sci-fi influenced art-metal meets synthwave track which is quickly becoming a fan favorite, and “Love Is Hell”, a decidedly danceable and gritty homage to everyone’s broken hearts.
Check it here:
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French darkwave band, Divine Shade has just unveiled their new single, ‘Stars’.
The track was performed live during Divine Shade’s set in support of Gary Numan’s 2022 UK tour.
The song’s theme is simple. It addresses the concept of our “inner child” disappearing over time. Says, Rémi Thonnerieux, “I wrote this song to talk about the fact that love and resilience are the true paths to dreaming again”.
2022 has been a great new start for Divine Shade. "Stars" is their way of saying "Thank You" to everyone for this year’s success. The song will also be part of a big musical project to be announced in 2023.
‘Stars’ was produced by Ren Toner and features Shan Moue on additional vocals. ‘Stars’ is available on all major digital platforms including Bandcamp. Listen here:
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12th December 2022
Christopher Nosnibor
The eponymous debut EP by South Carolina indie pop-rock duo The Yets is steeped in the tropes of quintessential vintage alternative pop, absorbing a range of influences, while keeping a clear eye on classic and ultimately accessible forms – embracing Fleetwood Mac and Cocteau Twins in equal measure, as the press release suggests with remarkable accuracy.
Robin Wilson has a superb voice, delicate, emotive, easy on the ear, and at the same time rich and gutsy. It’s key to the sound of The Yets, and the six songs on this debut EP really showcase both her versatility and that of their songwriting.
There’s a weird booming sound – not quite a beat, not quite a bass note – that cuts through the mellow drift of ‘Waterline’, and it’s one of those things that once you’re attuned to it, you can’t detune, like the duck in Whigfield’s ‘Saturday Night’ or the cowbell on ‘Don’t Fear the Reaper’, but if you can ignore it, it’s a superbly-executed song with a clean guitar chug that keep it moving along nicely while the lead guitar chimes and washes melodically.
‘Remember’ is perfection, a layered, easy alt-rock tune that’s Fleetwood Mac’s ‘Dreams’ and it floats along in a dreamy drift that closes out with a delicate guitar solo.
They strip things right back for ‘Lesser Evil’, which swings between brooding indie and moody post-punk with hints of Siouxsie, before spinning into ethereal shoegaze territory on the dreamy ‘Letter to a Boy’, which really does find the band revelling in the misty ethereal shadows of Cocteau Twins.
‘Fades to Grey’ makes an obvious reference to Visage, and the band’s 80s leanings are on clear display, but that’s where the connection severs: this is a smooth, atmospheric rippling piece with chiming, echo-heavy guitar that owes much to Disintegration-era Cure, and ‘Happy Now’ builds on that thickly atmospheric sound with a loping rhythm and layers of vocals that really fill out the sound as the guitars and it’s the most overtly goth song of the set.
With a broad pallet of tuneful wistfulness and textured, layered instrumentation, coupled with some smart and sensitive production, The Yets have landed with a seriously accomplished debut: there’s a lot happening here, and there’s a significant range but at the same time a cohesive feel to it.
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Photo: Gordon Backman
Aural Aggravation 