Posts Tagged ‘Technoindustrial’

Metropolis Records – 27th May 2022

Christopher Nosnbor

We’re playing serious catchup here: the band have been on such a (bacon) roll of late that I’ve struggled to keep abreast of their output. It’s quite a contrast to the early post-millennium period, which saw the emergence of Pigmartyr / Pigmata in 2004 or 2005 (depending on your location), fully five years after Genuine American Monster, followed by silence until 2016. It looked for all the world as if Watts was washed up, wiped out, sunk, spent, stopped. The phoenix-like re-emergence with first The Diamond Sinners EP, followed by The Gospel flexed muscles only hinted at on the tentative collaborations with Marc Heal and Primitive Race the year before, and found Watts reinvigorated, revelling in the glammier aspects of industrial sleaze and going the whole hog on the alliteration – and it turned out to be just the (re)beginning. It turns out that next month will see the release of The Merciless Light, the fifth PIG album in six years, and it lands hot on the heels of Baptise Bless & Bleed.

Like many recent PIG releases, this EP features four new tracks, accompanied by remixes of three of them, and the lead track is that quintessential PIG hybrid of low, pulsating synth that bubbled, bumps, and grinds while Watts croaks and groans breathless sleazy and seductive about pain and crucifixion, before it bursts into a bombastic blast of extravagant gospel propelled by a thudding kick drum and chugging guitar with serrated edges.

For all of the crossover with KMFDM and various other industrial contemporaries, not to mention Watts’ formative work alongside JG Thirlwell, the bottom line is that PIG sound uniquely like PIG, with a uniquely hybrid sound of techno and industrial at its heart, but then with glam, goth, and gospel all whipped into the mix, while thematically, it continues the thread that runs from ‘Shit for Brains’ on the 1988 debut single.

‘Shooting Up Mercy’ marks a change in tempo, slowing things down and ramping up the gospel chorus, before throwing in an extravagant guitar break of Slash proportions. There really is never a dull moment, and on this outing, Watts has gone proper maximalist, and it’s delightful, despite / because of its dark overtones.

The remixes are tidy enough, particularly the eight-minute reworking of ‘Tarantula’ that trudges and thuds along with bleeps and squelches along the way, before hitting a deep slow dance groove; it’s the most restrained track on the release, but has no lack of grunt or grind, and the solid chorus remains intact and infectious, reminding us – as if we needed it – that Watts has a knack for a hook, meaning that with this latest offering, we are indeed blessed.

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Louisiana-based industrial bass artist SINthetik Messiah has unleashed a provocative new single.  ‘Assassins That Run On Faith’ takes aim at violence and abuse in the Vatican.

"For 1,000s of years inside the Vatican a covenant of nuns exist solely to rid the evil of this world. Through sheer violence, this covenant was able to bring the Vatican to its current day power." – Bug Gigabyte

Included in the recording is an authentic recording of Pope Francis apologizing to nuns for abuse.

The release includes a remix by none other than Tom Shear of Assemblage 23.

Listen and download here:

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Musician and actor, Eric Oberto has just unveiled his new video and single release for the song, Closer Than Ever Before. The song appears in the forthcoming Hollywood theatrical film, Malibu Horror Story due out in late 2022.

‘Closer Than Ever Before’ paints the dark picture of a man running from himself and racing against his own mortality. While being stalked by “Death” himself, he encounters memories from his past and startling entities that chase him closer to that final closing door.

The music video for ‘Closer Than Ever Before’ will mark the second collaboration between Eric Oberto and Erik Gustafson of the band, Adoration Destroyed!

Both Eric and Erik co-directed the music video shoot. Eric Oberto also took on the role of Producer with the invaluable help of Video Shoot Production Manager, Micha Marie Stevens. Erik Gustafson Cinematography brilliantly handled all of the post-production and editing work. Watch the video here:

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Fredrik Croona whose projects have included the likes of MENSCHDEFEKT, CROONA & CYNICAL EXISTENCE has announced a new project, AGAINST I and debut single, ‘Scum.’

“‘Scum’ is a dedication to all the lowlifes who treat other people like shit and care for nothing but themselves. People who are so full of themselves that they don’t see or care about anything else. This is the first song that opens the door into a carnival of the obscene, deranged & faulty people and to the darkness of human psyche.” – Fredrik Croona

Watch ‘Scum’ here:

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Cool Thing – 18th February 2022

Christopher Nosnibor

Hot on the heels of their explosive return with ‘Drama Drama Drama Drama’, BAIT continue the assault with the delivery of ‘My Tribe’, off their eagerly-anticipated long-player, Sea Change.

Pitched as ‘the voice of pandemic anxiety’, Michael Webster explains that “’My Tribe’ was written at the very beginning of the pandemic when none of us knew what the fuck was going on. It got me thinking about survival and protecting my family from the unknown. There’s reference to primal activities in contrast to the mundane activities taken up to pass time during isolation.”

This encapsulates the contradictions of the early days of the pandemic: the confusion, the fear, the panic, the sheer bewilderment and sense of ‘what the fuck?’ as the guidance changed daily and we were told to work from home and batten down the hatches: the number of times we heard and read the word ‘unprecedented’ was unprecedented’ – far more so than the pandemic itself. No-one knew how to react, because no-one really knew what they were even reacting to, really.

Clocking in at almost four minutes, it’s one of BAIT’s longer efforts, and it’s driven – as has rapidly become established as their style – but a thick, snarling, repetitive riff in the vein of Killing Joke, and the comparisons don’t end there, given their sociopolitical leanings. In short, it continues the trajectory of their eponymous mini-album debut, and cements everything harder, denser than before, and then veers off into hard technoindustrial that’s more the domain of KMFDM and the like for the final minute.

Tackling isolation and the internal conflicts so many of us suffered, it’s angry, but in no specific direction – because who do you direct that anger at? Some of it goes inwardly, of course, wrestling with feelings of insecurity and inadequacy, while some of it goes outwards and into the air because fuck shit, life just isn’t fair. Why here? Why now? Just why? That sense of helplessness and frustration pervades every moment of anger and anguish, and it’s almost as if BAIT were a band ready-made for the pandemic.

But while it may feel like ‘Merry Easter, Covid’s Over’ may be a tune for the coming months, it’s readily apparent that the psychological repercussions of the last two years will be long-lasting for many. The social divisions that became raw gaping wounds through Brexit have only become more pronounced, as people have become more entrenched and seemingly harbour more violent feelings towards others, and on-line aggressions have begun to manifest in an upsurge in the ugliest behaviours since people have been allowed to get back out there. Something is awry, and the world is dark and more fucked-up than ever. This, seemingly, was the plan all along: divide and conquer. This is not some conspiracy theory, it’s not about some ‘plandemic’; it’s an opportunistic power-grab by governments following a neat-global shift to the right. They want people to be scared, and, as it happens, people have reason to be scared – jut not necessarily the reason it seems on the face of it.

‘Keep them occupied / lock them up inside’ is a neat summary of how things have been managed. They slide in the line ‘Under his eye’, and while they may have been bingeing on Netflix, the totalitarian regime of The Handmaid’s Tale seems a lot closer to home now: we are living in the midst of almost every dystopia ever penned made real.

BAIT have got the soundtrack down, they’re both the reassurance that you’re not alone in feeling what you feel, as well as the articulation of the painful truth. And they’re kicking ass all the way.

 

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21st January 2022

Christopher Nosnibor

‘Slowburn’ is, true to the title’s promise, a slow-burner, and as a single, it’s solid – not immediate, but appreciation evolves with repeat plays. The track itself is, in many respects, very much in the darkwave tradition, with cold synths and equally cold, almost monotone vocals that also carry an ethereal quality.

There’s a mesmerising, hypnotic quality to the original song, which, we learn is ‘a song about passion; passion- a deep love/emotion that consumes body and soul. It is about depth of feeling for a person, place, process or thing.’ Against brooding piano and backed-off beat, it calls to mind Jarboe-era Swans and some of her solo work, in no small part due to Cat Hall’s powerful but understated vocal.

Cat explains the origins of the song as follows: “I wrote this as I was considering the many all-consuming passions of my life. Passion to write. Passion for art. Passion for nature, for the planet. Passion for science. Passion for humanity. Passion for the individuals I love. Also, the painful realization that despite my intense feeling, actions and orchestrations, these things, places, people, and processes come to an end. I come to an end. My passions die with me.”

Our passions drive us and keep us alive, and without passions, what have we and what is life? And what passion is there in a set of remixes?

My standard complaints around remix EPs are that they’re essentially lazy and eke out the smallest amount of material for the most physical space, and that they’re something of a short-change for fans; then there’s the fact they’re often really, really tedious, with the same track or tracks piled back to back and mostly sounding not very different apart from either being more dancy or dubby. This set is a rare success, in that the remixes are so eclectic and diverse half of them don’t sound like the same song, but without doing that whole thing of deconstructing it so hard with ambient / techno / dub versions that there’s nothing left of the original in the versions – another bugbear.

The Von Herman Lava Lamp Mix piles on the soul and sounds like Depeche Mode circa Ultra, while the Kirchner Charred Mix is a straight-ahead, thumping electrogoth dancefloor-ready banger. The Haze Void Mix cranks up the grind, with oscillating electronics more akin to Suicide than any contemporary act. This is the biggest, densest, and most transformative reworking of the lot, venturing into space rock territory as it thuds an d rattles, twisting the vocals against an urgent, throbbing sonic backdrop and throwing in some hints of Eastern mysticism for good measure. It’s an intense experience. The Hiereth Lonely to a Cinder mix brings some brooding piano and even harder hammering beats, landing it somewhere between the Floodland-era sound of The Sisters of Mercy and that quintessential Wax Trax! technoindustrial sound.

It’s a corking single, and as remix sets go, this is a good one.

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17th December 2021

James Wells

Pieces is the second in a projected series of five EPs, and on the face of it, it’s an immense undertaking: this release contains five tracks, and its predecessor four. Across the project, that’s a full two albums worth of material… until you clock that half of the tracks are remixes. Not that that’s a criticism per se, and I won’t revisit my eternal remix peeve yet again here, because no doubt readers are as sick of that as I am of remixes as a thing.

So ‘Pieces’ is in effect a single, comprising of ‘Disease of Kings’ and ‘Failure Principle’, bolstered by a brace of remixes of the former and one of the latter. ‘Disease of Kings’ is a in some respects a surprising choice of lead song, in that it’s a slow, brooding cut with expansive, cinematic synths casting an arena-wide vista over the reflective mood. It’s well-executed and emotionally charged, but the vocal treatment – namely a fuckload of autotune on the verses – is perhaps a little overdone and reduces the impact of the song’s kick-to-the-chest sincerity. It’s a fine choon, but maybe a fraction too produced and polished and even a little bit Emo, where a slightly rawer edge would have bitten harder.

‘Failure Principle’ is geared toward the mid-tempo, with quintessential dance tropes in full effect, with nagging synth loops rippling over and over an insistent dancefloor-friendly beat. While still featuring the core elements of techoindustrial, it carries a keenly commercial style.

The Assemblage 23 Remix of ‘Failure Principle’ is a standout by virtue of the way in which is accentuates the track’s danciness and general catchiness, bordering on euphoric dance which seems somewhat at odds with the lyrical content. But then, the medium is not necessarily the message, and there’s something to be said for slipping darkness in under the cover of light. In that sense, it works, although the extent to which suggesting any song by an industrial act has mainstream crossover potential and a broad appeal is questionable.

Rounding off the EP, the KALCYFR Remix of ‘Disease of Kings’ beings some fuck-off dirty great guitars and grinding bass to the party and comes on way more Nine Inch Nails, and tempers the vaguely emo leanings of the original and GenCAB remix.

The ‘limited-edition PANIC LIFT FACE MASK to accompany you on your journeys through the current post-apocalyptic landscape’ is a nice touch, too – because we need some nice things to help us navigate living through the reality of all of the dystopian fictional futures becoming reality all at once.

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1st December 2021

Christopher Nosnibor

Do you ever feel that the problems facing humanity right now are of our own making? That the phrase ‘scum of the earth’ applies to humanity as a whole, because we as a species have simply fucked everything up beyond all repair? Because the simple fact is, we have. What other creature destroy its own habitat as well as those of nearly all others? Parasites seek to achieve symbiosis with their host; viruses mutate to become more transmissible but less fatal; the aim is not to kill its host but to thrive and expand. Mankind is worse than parasitic, the most brutal virus that evolves slowly and in ways which are counterintuitive, namely to exhaust its host. Where do we actually go from here? The prospect of inhabiting Mars with colonies because we’ve fucked up the world we were born to seems beyond insane.

The shock-factor-monikered Skat Injector are – as you’d likely expect – upfront in their positioning, pitched as serving up ‘Grindcore-inspired speedcore and a diatribe of anti-human propaganda because that’s what we deserve for what we’ve become.’ They have a deep sense of self-loathing and misanthropy, and it’s abundantly cleat on this dehumanised, inhuman blasting racket that’s dark, deep, glitchy, subterranean, demonic, wrecked on every level.

They rail against ‘Willful [sic] ignorance, habitat loss, animal abuse, global ecocide, global warming, environmental pollution, overpopulation and many other attributes of a leeching narcissistic race which needs to live within its bounds’. They shouldn’t have to; this is how life should work.

On Bled Under A Burning Sky, Skat Injector pound and rage and rage and pound, as grating, raw-threated vocals spit, snarl, and grind against a backdrop of frenzies percussion. The lyrics aren’t always – or often – decipherable, but the sentiment is clear.

‘All Tomorrow’s Genocides’ is like a grindcore Prurient, with soft, spindly synths slowly spinning misty swirls of fear chords around pulverizing drill-like beats. Explosive doesn’t come close to a fitting description.

‘An Earth Cleansed with Flame’ goes full harsh electro and is straight up Chis and Cosey trance backing, at least at first, manifesting as aggressive dance with harsh vocals, while the six-minute ‘The Future Sound of Suffering’ brings the suffering and it’s painful in its crunching brutality. ‘Vanishes Rapidly’ is constructed around explosive dynamics, and flips from near ambience to the firing of an AK-47 directly into the ear. It’s brutal and it’s savage, but also very much the ultimate expression of the industrial era, and ‘Obsidian Dawn’ only amplifies and intensifies. It fucking hurts.

The album is dominated by beats so hard and fast they sound like drills and nail guns, this is industrial and its hardest and most industrial, the sonic equivalent of applying a power drill on hammer setting to the eyeball.

At almost fifty-two minutes, it packs a lot of firepower, a lot of punch – so much so that it leases you panting and pounded – in a good way, of course, assuming you have at least a faintly masochistic streak and appreciate music that’s as much about testing your endurance as it is coaxing and massaging the pleasure zones with a battering ram and a taser simultaneously.

The second CD – another fifty-three minutes – of instrumental and extended versions of the album’s tracks is certainly not one for the passing listener or casual fan, and it’s perhaps not essential even for moderate fans, although the nine-minute extended version of the title track is certainly a nice pain-inflicting bonus.

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Industrial bass act SINthetik Messiah has just unveiled their new single, ‘Religious Soldier’.

‘Religious Soldier’ is about exposing religious leaders for brainwashing, abusing their followers and specifically, how they want their flock to be ‘good soldiers’ in their own twisted version of what it means to serve God. Setting the tone of the new single, SINthetik Messiah’s ‘Religious Soldier’ features a recording of a fake priest performing a fake exorcism on a brainwashed woman.

The sonic hammer of sound behind ‘Religious Soldier’ draws musical inspiration from the hardcore drum and bass, power noise, EBM, and old school industrial music scenes. The main vocalist, Bug Gigabyte takes his vocals from a punk rock type scream to a full on male choir. Lyrically, he begs the audience to wake up and not fall into a cult.

This two-track EP precedes a full length album due out in 2022.

Check it here:

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16th July 2021

Christopher Nosnibor

Initially intended as a straight follow up to their 2019 debut, Digital Scars, Chemical Violence evolved as a more technoindustrial work, with less primacy given to the guitars. But having said that, the band explain that they were keen to present a range of elements across the album: ‘We don’t want to be pigeonholed into one sub-genre so all the songs have their own flavor. Retro and post style, Electronic, driven guitar, grinding Noisecore and Aggrotech elements, Synth bass, Drum dominant. We don’t want to be pigeonholed into one sub-genre so all the songs have their own flavor. Retro and post style, Electronic, driven guitar, grinding Noisecore and Aggrotech elements, Synth bass, Drum dominant.’

The album slams straight in with the shuddering synths and thumping beats with the hard-edged stomp of ‘Prototype’. The vocals are gnarly, mangled, snarling, robotic – yes, derivative of Twitch era Ministry and a million Wax Trax! releases from 86-89, but that’s entirely the idea.

It was The Wedding Present who turned a negative music review into a T-Shirt bearing the slogan ‘all the songs sound the same’ and while it served to turn the criticism back on itself, it raises the very fair question of ‘what’s the problem?’ Certain genres particularly require a significant level of sameness.

Dance music is necessarily constructed around a narrow range of tempos, and this strain of electro-centric industrial is in many respects, an aggressive rendition of dance music (no, I’m not going to call it fucking EDM. Or EBM, either. Because there is just so much tribal wankery around genres, and rebranding shit doesn’t make it new shit, it just makes it the same shit rebranded. I never blame bands for this: it’s a press and marketing thing.

Chemical Violence most definitely isn’t shit – it’s an astute work that sees the band really exploit the genre forms to their optimum reach, and the point is that the further you delve into a genre, the more important the details become. Malice Machine know this, and this album is the evidence. ‘Dead Circuit’ presents the grinding sleaze of PIG, while ‘Machine Hate’ is pure insistent groove that’s overtly dance – most definitely drum dominant – but clearly has its grimy roots in that Chicago c86 sound. Flipping that, ‘Techno Pagan’ goes full raging Ministry industrial metal in the vein of ‘Thieves’. It wraps up with a killer rendition of Tubeway Army’s ‘Down in the Park’ that’s quite a shift, being both organic and robotic at the same time, and very much captures the stark spirit of the original. Covered by so many, from Marilyn Manson to Foo Fighters, and it’s become a synth-goth classic. Malice Machine seem to take some cues from the Christian Death version, but brings something unique to the party as well.

Where Malice Machine succeed with Chemical Violence clearly isn’t in its innovation, but its execution, and they don’t put a foot wrong, making for an album that really is all killer.

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