Posts Tagged ‘electronic’

EXIT ELECTRONICS – believe anything, believe everything

Posted: 26 March 2023 in Albums
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Avalanche Recordings – 24th March 2023

Christopher Nosnibor

believe anything, believe everything, the follow-up to LEARN THE HARD WAY, released in August 2022, is the second album from the eternally-prolific Godflesh founder Justin Broadrick aka JK Flesh under EXIT ELECTRONICS, and it is a monster. Predominantly percussion and otherwise beat-free, it’s an example of the most primitive electronic industrial noise and pounds hard at every part of your being in the most punishing and relentless of fashions. That isn’t to say it’s arrhythmic: the tracks are built around the rhythms that emerge from repetition and the way noise surges together to create form.

The capitalisation of the titles is jarring enough for a sensitive pedant like me, but the presentation is perfect for the content. believe anything, believe everything is very much an album that SHOUTS IN YOUR FACE in all capitals, with everything cranked up to overload. It’s described as ‘INDUSTRIAL MUSIC’ and it seriously is.

There’s nothing about believe anything, believe everything that’s overtly or specifically political – there are not words, and the titles, capitalised as they are, are suitably abstract in their intent. And yet believe anything, believe everything does feel political, and it feels like a discourse about being hoodwinked, about being controlled, manipulated. About differences of opinion, about division, and about everything being fucked up. Sure, I may be projecting and seeing solace in that projection, but as of an in itself, the mangled racket of believe anything, believe everything offers no solace superficially, because, quite frankly, it hurts. And this is why believe anything, believe everything feels like the soundtrack to the soundtrack to the now: we’re persistently lied to, taken for fools, subject to increasingly draconian laws and heightened surveillance while living standards drop by the day and inflation soars exponentially.

believe anything, believe everything articulates something beyond words about the bleak times we find ourselves in And still, STILL, while the fucking cunts still treat us like pricks, and rob us blind while milking the taxpayers (not the millionaire tax avoiders) to fund private interests), people back these fuckers, the Tories here in the UK and fucking Trump in the US.

Christ: we need music like this to fill our heads and wipe away the pain, albeit briefly.

Each track locks into a groove and gouges away at it with minimal variation for a relentless four or five minutes. Its power lies in its focus on force, and the impact isn’t due to dynamic range or structure, but nonstop bludgeoning.

Grinding out a repetitive pulsation, ‘YOUR LOT’ is so dense and distorted it’s both nausea and headache-inducing. The sound gets murkier and nastier and more degraded as the track’s five and a half minutes progresses. The bass blasts hard as deep on ‘HOW YOU SEE IT, IS NOT HOW I SEE IT’, before the speaker-tearing boom of ‘PISSTAKE’. It may be an illusion, but the experience is that it simply gets darker, denser, nastier and more overloafing as it progresses.

‘ACT FIRST, THINK LAST’ offers some slight variety, with a crashing, crushing rhythm and gouging synth sounds that sound like your soul being sicked down a sinkhole the size of a continent. ‘KNEE JERKS’ does go big on the beats, and they kick you in the midriff and knock the air from your body, leaving you gasping and weak. It’s a mangled churn, a thudding chud like when a laundry load had lumped together and is banging from side to side in the spin cycle, only if you’ve hearing it with your ear pressed to the washing machine door and it’s vibrating a clog of earwax you just can’t shift.

‘WHO’S YOUR GOD’ is a massive ear-blasting burst of pulsating distortion, and things really do get nasty and gnarly again, and at the abrupt halt of the last track, ‘HOW WE LOVE TO MOCK’, you’re left feeling drained, battered.

There is no response to an album like this: you just feel fortunate to have made it to the end. You’re left feeling drained and exhausted as you stare at the ceiling.

Fern – Deformed

Posted: 16 March 2023 in Albums
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Dret Skivor – 3rd March 2023

Christopher Nosnibor

Fern’s Deformed is appropriately titled: this some mangled shit. From the slow, deliberate, rolling grooves that boom and bow through snarled up noise, while against it, crisp, crunching beats thump and stutter, Fern keeps things interesting and innovative, but more than anything, keeps it uncomfortable.

Deformed sits within that bracket of dark ambient that’s deeply dark, but not entirely ambient, and doesn’t for a second let you settle into it, instead twisting and squirming awkwardly, refusing to solidify or confirm to any one fork of style.

‘Intro’, the minute-long splurge of wibbly dissonance set the scene nicely for the following twenty-five minutes of oddball electronica. The liner notes offer ‘Respect to Portishead, aphex twin, faster katt and Mindacid for inspiration (samples)’.

The majority of the album’s ten tracks are brief sonic snippets, most being well under three minutes in duration, and in many respects, Deformed feels more like a palette sampler than a fully realised work – although that is by no means a failing, as it gives the album an immediacy that further evolution would likely dilute.

It’s four tracks in that Deformed really starts to take (strange, twisted, unexpected and indefinable) shape: ‘Greyhats’, a live recording – it’s unclear if it’s live in the studio or soundboard, but there’s no crowd noise and it fades at the end – is aggressive, dark, and difficult.

Immediately after, ‘Heaven in my hands’ is a murky mangled mess of distortion and mid-range, drums overloaded and crackling in a grey blurry sonic haze, and ‘Give Your Soul Away’ is a skull-pounding beat-driven assault, and the samples pile in thick and fast. ‘Porthole’ is dense, robotic, repetitive, and while dance elements are a defining feature of the album’s style, this is by no means a dance album: it’s stark, it’s bleak, detached, and in places, unsettling.

Deformed is many things: easy, predictable, comfortable, are not among them.

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Watch: ‘Stay’ by Carrellee

Posted: 3 March 2023 in Recommended Streams and Videos
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Nothing last forever. Yet moments are timeless and will always have existed. This is the song’s central theme. The video, directed by Jason P. Schumacher features Volstead’s Emporium, an underground speakeasy in Minneapolis. The video plays off of the lyrics which address feeling trapped in a melodrama.

"It’s about my divorce and all. The whole album is. I was feeling like a character at the time, like I was stuck in a movie where the end was clear, and my feelings were larger than life. I realize now I did have control and responsibility but in a lot of ways it feels like fate too.” – Carrellee

‘Stay’ is the hazy, electro-ballad from electronic artist Carrellee’s latest album, Scale Of Dreams. Watch the video here:

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CARRELLEE’S 2023 SCALE OF DREAMS TOUR


2/23 Indianapolis, IN @ State Street Pub 
2/24 Louisville, KY @ Art Sanctuary 
2/25 Lexington, KY @ The Green Lantern 
2/26 Johnson City, TN @ The HideAway 
2/27 Savannah, GA @ Lodge of Sorrows 
3/1 Gainesville, GA @ Portal 4 
3/2 Orlando, FL @ Will’s Pub w/ Vision Video 
3/3 St. Augustine, FL @ Sarbez! 
3/4 Tampa, FL @ New World Music Hall w/ Vision Video 
3/5 Jacksonville, FL @ 1904 Music Hall 
3/8 Tallahassee, FL @ The Bark 
3/9 Mobile, AL @ Alabama Music Box 
3/10 Atlanta, GA @ Sweetwater 
3/11 Huntsville, AL @ Gold Sprint w/ Snooper 
3/12 Chattanooga, TN @ Exit Off Main Street 
3/13 Nashville, TN @ The East Room 
4/1 Madison, WI @ Mickeys Tavern w/ Scott Yoder 
4/22 Madison, WI @ Crystal Corner 
4/27 Tulsa, OK @ Sound Pony 
4/28 Norman, OK @ Opolis
4/29 Wichita, OK @ Private Party 
4/30 Colorado Springs, CO @ Fritzys 
5/3 Albuquerque, NM @ El Rey Mezzanine 
5/4 Tucson, NM @ Groundworks 
5/5 San Diego, NM @ The Comet 
5/6 Los Angeles, CA @ Luna Negra Goth Nights 
5/7 Oakland, CA @ The Golden Bull 
5/9 Eugene, OR @ Old Nick’s Pub 
5/10 Olympia, OR @ Le Voyeur 
5/11 Seattle, OR @ The Cherry Pit w/ Scott Yoder 
5/14 Vancouver, Canada @ Verboden Festival 
5/18 Portland, OR @ Coffin Club 
5/20 Boise, ID @ Boise Hive 
5/23 Salt Lake City, ID @ Kilby Court 
5/24 Fort Collins, CO @ Lyric Cinema 
5/25 Denver, CO @ The Crypt 
5/26 Kansas City, MO @ recordBar 
5/27 Omaha, NE @ The Sydney 
5/28 Ames, IA @ The London. Underground

Watch: ‘Eye Witness’ by Me Lost Me

Posted: 2 March 2023 in Recommended Streams and Videos
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ME LOST ME led by Newcastle-based artist Jayne Dent announces a new album RPG via Upset The Rhythm on 7th July, and is touring across the UK including support dates with Pigs x7 (dates and details here). RPG (recorded in Blank Studios with Sam Grant of Pigs x7) is ME LOST ME’s fourth outing as a collective, having transitioned from an ambitious solo project in 2017, Jayne now regularly collaborating with acclaimed North-East jazz musicians Faye MacCalman and John Pope.

ME LOST ME delights in experimenting with songwriting and storytelling, creating a beguiling mix of soaring vocals and atmospheric electronics that playfully weave together disparate genres, drawing influence from folk, art pop, noise, ambient and improvised music. Hauntological in part, RPG is concerned with tales and with time – are we running out of it? Does insomnia cause a time loop? Do the pressures of masculinity prevent progress? Jayne Dent asks these questions and more on RPG, her homage to worldbuilding and the story as an artform, calling back to those oral traditions around a campfire, as well as modern day video games – bringing folk music into the present day as she does so.

Watch the video here:

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Photo credit: Amelia Read Photography

Open to the Sea – Tales from an Underground River

Posted: 20 February 2023 in Albums
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25th November 2022

Christopher Nosnibor

Two years on from when I covered Open to the Sea’s Another Year Is Over, it transpires that Milan-based Matteo Uggeri and his cohorts are back with Tales from an Underground River. A lot has happened since then – and yet in many ways, not a lot has, and for some of us, it feels as if lockdown never ended.

Governments and employers seem to be content to peddle the idea that with vaccines rolled out and restrictions lifted, the switch had been flicked that restores normality – so much for the endless talk of a new normal not so long ago. This is likely true of some things, primarily retail and public services, but then, many office workers have only returned on a part-time basis, if at all. For me, personal circumstances have meant not at all, which is welcome – much as I miss people, I don’t miss those people.

I digress, but this context is what I bring in terms of my reception to this album, which was, recorded over the course of a couple of years, starting in the Winter of 2019 and spanning the pandemic period – a time that has drifted into near-unreality and feels almost dreamlike, unreal. And this is very much the sensation that Tales from an Underground River creates. Listening to it feels like listening to a dream.

The text which accompanies the release, they’re at pains to point out, is not a press sheet, but a diary, and that makes sense, as it charts the album’s long and convoluted evolution. It certainly isn’t a sales pitch. But then, art shouldn’t be about sales pitches: creatively, the journey to the end result – if indeed it even is the end result – is far more interesting, and of significantly more value.

Beginning life as two long and multi-layered sets of improvisation with piano, guitar and synths recorded by Enrico Coniglio, it was then completely reworked by a process of additions and subtractions by Matteo Uggeri, and over time, incrementally, it was picked apart and broken down into thirteen relatively short pieces, where soft, rolling piano and mournful brass merge with the sounds of thunder and rain and a host off subtle field recordings which add delicate layers to the sound. And they’re segued together in such a way as to render the album one continuous piece in a succession of movements.

The mood transitions incrementally through the segments, and the titles are beautifully descriptive: I found myself forming mental images of scenes while listening, the music providing the soundtrack to a slowly unfurling movie in my mind’s eye – a movie brimming with scenes of nature, as ‘Pebbles Clink, Fluffy Echoes Make the Air Colder’ and ‘Pebbles Clink, Fluffy Echoes Make the Air Colder.’

Indeed, reading the lengthy titles in sequence conjures a semi-narrative in itself. At times ponderous, contemplative, brooding, at others with flickering sun offering hope – sometimes within the space of a single piece, as on ‘Limpid Lights Dig Words in the Rocks’, you feel yourself carried on a current through different terrains and landscapes. ‘Emotions and Thoughts Climb over Years and Years, Always the Same’ brings droning guitar textures and a rather darker hue of ambience with post-rock leanings, and Tales from an Underground River is an album where the movement and changes never cease over the course of its journey. At times eerie and unsettling, at times ominous, and at others – for wont of a better word – cheerful, it’s a magical piece of creativity that shows vision and was very much worth the three years of work.

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Hem Netjer – The Song Of Trees

Posted: 19 February 2023 in Albums
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28th February 2023

Christopher Nosnibor

Something about ‘Elemental Cry’, the lead single from Song of the Trees struck a chord and resonated on a subliminal level. It landed with me at a difficult time, personally. Admittedly, most times are difficult, but some are more difficult than others. More often than not, music helps me through those times, and it’s not always the music I’m expecting. Sometimes, old favourites provide the least comfort and are simply too painful. Perhaps I was clawing for something spiritual, music that provided an escape to another realm. Truth is, I’m eternally seeking something. This sweeping, soaring epic channels something that goes beyond notions of derivative Nordic cosplay cal to forge something powerful beyond words.

This is a quite particular and specific thing about music: sometimes it’s not the music itself, but your state on receiving it. I was, and am, in a state, and words aren’t easy. They are a slog. I don’t want to be here, but must power on. And so that transportation, that being lifted to another place, is perfect in terms of needs. Combining heavy synth drone, spacious piano and metallic twangs, The Song Of Trees is tense and atmospheric. It twists at muscles and nerves as drones undulate, hover and hang in the dense air. As the title suggests, it’s rich and earthy, intertwined with nature and the elements, an album that evokes a sense of the vastness of the great outdoors, the space and freedom that instils life into our bodies, and has for as long as we’ve walked the earth. Only now, contemporary living has separated us from nature to the extent that to walk in woods, or to find a place unsullied by human impact feels like some sort of a special treat. This means that while it’s perhaps harder to feel an attunement to the natural world in daily living, experiencing it is something to be cherished all the more dearly. This, then, transports me from the dingy confines of my poky rectangular office space and to somewhere I can feel free.

Given the taster, and the album’s opener, the expansive ‘Void’, ‘Salt and Tears’ lands as an early surprise, being quite beat-driven and overtly electronic with something of a glitchy leaning that’s far from natural or organic. It’s powerful, and it’s all about the dominant percussion, which works well, although it’s not nearly as powerful as third track, ‘Eldur’: the beats are again dance-orientated, but the vocals are positively operatic. It’s a song that registers on a number of levels. In combining the natural, the earthly, the spiritual, and the ultra-modern, with technology-orientated sounds, this could be a clash if not handled with due care and sensitivity, but Hem Netjer create with a sense of balance and equilibrium, which in some way conveys our conflicting, divided existences.

I suppose there are elements of more mainstream artists as well as the likes of Zola Jesus and the wave of Nordic metal acts which seems to be emerging all blended together here, and these imbue The Song Of Trees with a power that’s greater than the sum of the often quite minimal parts. If ‘Freedom’ characterises the album’s more commercial moments, there are plenty more that carve a different space. ‘Elemental Cry’ arrives as the penultimate track with it thunderous drums and steely strings and its power remains undiminished, and it’s the clear highlight of the album.

And elemental is the word: The Song Of Trees has, despite electronic sounds being so integral, a purity that is rare indeed – and that’s both powerful and moving.

The six-minute closer, ‘Otherworld’ is epic in every sense: sparse in instrumentation yet ultimately vast and immersive, it makes for a strong finish to a strong album.

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Watch: ‘Dahlia’ by Twice A Man

Posted: 3 February 2023 in Recommended Streams and Videos
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Twice a Man have released a video for their new track ‘Dahlia’, which is featured on the lavish 3-CD and 72-page artbook compilation entitled Songs of Future Memories (1982-2022) that was released on January 27.

The Swedes’ long-time artistic preoccupation with environmental issues is also reflected in the clip, which contrasts the beauty of the natural world with the urban landscapes created by humanity.

Watch the video here:

Twice A Man comment: “The song ‘Dahlia’ is a reflection about our time,” Dan Söderqvist explains on behalf of the trio. “The world is getting darker and uncertain with wars, pandemics, and above all: climate change, environmental destruction, and through that a loss of biodiversity that is all caused by human activity. We experience a conflict between the outer world and an inner imaginary world. We need to feel comfort, and music at its best grants us that inner peace. Two new songs, ‘Lotus’ and ‘Dahlia’, were made to be included in our new compilation album Songs of Future Memories and – in some respect – to epitomise the spirit of Twice a Man.

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Fågelle – Den svenska vreden

Posted: 22 January 2023 in Albums
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Medication Time Records – 27th January 2023

Christopher Nosnibor

My first encounter with Fågelle was supporting Big | Brave in Leeds last spring. Despite suffering some technical difficulties and being on before a band so mighty that I still haven’t quite got over the experience, I wrote that ‘Fågelle proves to be an absolute revelation’.

The release of her new album, album Den svenska vreden (The Swedish rage), affords proper time to digest, and to reflect on this. And live, I remarked on her understated presence and the variety, shifting from quiet restraint to some heavy noise, and with experimental elements. Those are all present here, to forge what the press release set out as ‘collage-like soundscapes made with twisted field recordings, mobile memories, digital trash, dark electronics, and howling choirs while moving between harmony and noise.’

For the most part, Den svenska vreden is subtle. There are soft, electronic washes and the slightest of glitches ripple and stutter almost subliminally. The layers rub against one another to create tensions, but still, the overall mood of the album is comparatively light, particularly given the album’s title and her explanation of the album’s context and contents.

“I was so angry and had been for years.” explains Fågelle, “A kind of adult rage that was new to me. Feeling forced to accept and stay in circumstances making me miserable. To patiently suffer now for a better future. But also, a subdued Swedishness that doesn’t hold space for flaring, tearing, wallowing rage but rather pushes it down from the surface and inwards. Question is, where does the rage go, and which forms does it take? That became a starting point for the record where I kept exploring my personal boiling points, pressures and releases, where to hold my rage, in words and in the body, as a swede and as a woman.”

She continues, “Swedish social norms value the level headed and emotionally subdued. There is a pressure put especially hard on women to function like social glue and to always be consensus oriented. It’s a pressure to practice self control, a self choking of non-agreeable ideas and feelings. Rage being one of them.”

As such, one senses the rage is very much tempered by the Swedish restraint. And that’s something that there is a strong sense of, listening to Den svenska vreden – that there is in fact far more beneath the surface, simmering.

‘Slavar’ is dark and tense, tentative, mysterious. In contrast, ‘Aldrig mera här’ is almost minimal pop in its flavour. As a prelude to the soft folk reflections of ‘Fåglar’, which in parts invites comparisons to Suzanne Vega while in others goes quite wonderfully weird, ‘Tredje långgatan tretton’ begins as hushed ambience and builds into dramatic strings. It’s on the title track that the rage burst forth, manifesting as two minutes of mangled noise, and the album culminates in a thumping burst of beat-driven electronica which I wouldn’t go so far as to describe as dance, but it’s certainly got enough groove to get down to.

There’s a sense that Den svenska vreden reflects its creator: complex, inscrutable, enigmatic, and multi-faceted.

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Various – Rental Yields Volume Three

Posted: 29 November 2022 in Albums
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Front & Follow – 25th November 2022

Christopher Nosnibor

Longtime Aural Aggro faves Front & Follow have delivered the third in their series of truly immense Rental Yields compilations, with another twenty-five tracks of remixed works which showcase the community spirit they espouse as a label and among those in its orbit.

They describe it as ‘a multi-release collaboration project raising money to tackle homelessness in Manchester… Inspired (if that’s the right word – perhaps ‘motivated’…) by our current housing system, the project encourages artists to steal (or borrow, nicely) from another artist to create their own new track – in the process producing HIGH RENTAL YIELDS. Over 100 artists are now involved (the spreadsheet is fun), each one tasked with creating a new track from the sounds created by someone else – we are then collating the tracks and releasing them over the course of the next year.’

Some would describe the project as ambitious, others as simply crackers, and it’s likely both in equal measure, but this is why we love F&F. That, and the fact that they seem of have a knack for attracting and releasing interesting artists who exist far beyond the peripheries of any kid of commercial radar (or even most alternative radars).

This compilation really does make the most of the medium: unrestrained by the limits of vinyl, cassette or CD, and has a playing time of about a week. Yes, I exaggerate, but the point is, each contribution is the length it needs to be, or the artist feels it ought to be, rather than cut or constrained, meaning that while a fair few pieces sit around the five minute mark, the Decommissioned Forests vs Pulselovers rendition of ‘Rental Yields’ runs for nine minutes and forty-four seconds, ahead of the ten-minute workout that is IVY NOSTRUM vs The Snaps Jar’s ‘AND MONEY LESS’ and a few other six- and seven-minute monsters.

But what is time, anyway, and what’s it for? As much as it’s a measure of time, it’s a tool by which lives are ordered, limited, constrained, controlled. The vast majority are paid work by the hour, not by output, and time on the clock is not your time, but your employer’s. You don’t own your time, and you don’t own your space, and you give your time to some company who profit from your time and output in order to pay for a roof over your head, a space to eat and sleep, for the profit of a landlord or a bank you owe tens, even hundreds of thousands.

How often do you hear people shrug about their shit jobs saying ‘well, it pays the rent’. Imagine lying on your deathbed, reflecting on a lifetime of drudgery to say ‘I paid the rent’, while your landlord’s spent their life living it up in restaurants and on overseas holidays and celebrating their success because you’ve paid their rent too.

Audio Obscura VS Secret Nuclear’s ‘Vacant Period’ opens the album with an apposite sample from a TV show discussing gross and net yield before embarking on a glitchy, flickering journey of droning industrial Krautrock, and paves the way for an extensive and magnificent-curated collection of variant forms of ambience. Pettaluck Vs Giant Head’s ‘Dot to Dot’ is disorientation yet soothing and hypnotic – and fucking strange. But we like strange, and Front & Follow provide plenty.

If it’s a long, long listening journey of crackling stating, looming darkness, bleeps, bloops, and extraneous noise intercut with snippets of radio, film, and TV, and ultimately forges an immense intertext of sources.

Sometimes it’s swampy, eerie, tense, others it’s quite mellow and finds a subtle groove, but Rental Yields is unyieldingly brilliant, both in terms of range and quality. And you really can’t go wrong for a fiver – the worthy cause is simply a bonus.

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Listen: ‘Immersive Waves’ by Raven Said

Posted: 12 November 2022 in Recommended Streams and Videos
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Gothic/occult wave duo Raven Said has just unveiled their new EP, Chants To Dissolve.

Chants To Dissolve is about the spiritual essence that represents a certain alchemical phase of Solve (a transitional process between the Nigredo and Albedo phases in basic Alchemy).

On the abstract, the EP represents the invisible and inaudible flattering of a butterfly’s wing to the deafening roar of the inescapable wave of the coming future. Physically, it’s an effort aimed at changing the composition, without an exact result In a philosophical context. This means that the future is not defined and there is only the possibility of one or another existence; a certain point of polyfurcation, a set of evolution.

With pulsing vibrations of guitar and synths transformed into elegant canvases in cold tones, Raven Said is the flexible fusion of darkwave / goth rock / post-punk; the musical expression of symbolic mysticism and psychology.

Check ‘Immersive Waves’ from the EP here:

The founders of the band – Andrey and Maria united for creation of old school Goth Rock / Occult Wave project. One of the most famous poems of the American romantic writer E. А. Poe inspired the band’s stylish title.
Raven Said accumulates the energy of Second Wave Goth Rock and complements this with elements of Post-Punk and New Wave to form their original modern sound.

Musically, Raven Said takes inspiration from the likes of Rosetta Stone, Nosferatu, Witching Hour, The Cult, Mephisto Waltz, Cinema Strange among others. Raven Said’s lyrics focus on occultism, attraction to the world beyond and following into the realm of the unconsciousness themes.

Raven Said has served as a support act for cult artists such Golden Apes (DE), The Danse Society (UK), Das Ich (D), My Own Burial (ES), Murnau’s Playhouse (FI), Moon Far Away (RU), Orplid (DE), Larva (ES) etc.

Raven Said has received considerable acclaim and recognition. The band has participated in numerous online, print and radio interviews and has been reviewed in various online and print publications worldwide. They have also taken part in online festivals – Absolution NYC, Goth for Sanctuaries, ARG-Fest & Luna Negra.

2017 saw the release of the EP, Seven Deadly Tapes which was well-received both in Russia and abroad. In 2020, the band released the LP, Beyond the Darkest Hour on the UK label, Secret Sin Records.

Broadening the forms of traditional Goth rock, Raven Said are experimenting with new shapes and themes having the artistic charm and authentic visual aesthetics.

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