Gothic BC

Figure Section
Spectre
aufnahme + wiedergabe
The fun of a release like Spectre is in examining how a new project presents themselves. For their debut three-track release Belgian project Figure Section focus on a bass-heavy and dancefloor ready iteration of darkwave that speaks to some broader sounds in the dark music spectrum. Title track “Spectre” is a hell of an overture in that regard, mixing a tense arrangement of analogue synths and snappy drum programming, propelling deep female vocals with a heady immediacy. Even more desnse is “Disfigured Section”, where fuzzy bass and drums reminiscent of millennial electro are drowned in a rich syrupy reverb that lands just on the right side of excess, samples and other percussive elements emerging and then retreating into the audio murk. Closer “Slick” offers an interesting view into the project’s broader vision for their sound; instrumental save for some rhythmically arranged vocal samples, the rhythm track speaks to both techno-industrial and body music sounds, with sinister pads floating above busy cymbals and snappy snares. The potential for a more substantial LP is certainly suggested on Spectre, but there’s more than enough merit in these three songs to justify it as a release unto itself.
Spectre by Figure Section

Madrelarva
Oro Naciente
Cønjuntø Vacíø
Spanish producer Julio Tornero’s Madrelarva project focuses in on a restless combination of dark ambient and pure sound design. New LP Oro Naciente is rife with phase shifting and swirling pads which might be mistaken for being spacey were they not so temperamental. Even amidst the loping drones and looped minimal rhythms of “Anhedonia” there’s something restless and uneasy in the mix. No matter how slow or repeated Madrelarva’s phrasing is, it never quite settles down. Sure, one could interpret the soupy ambiance of “Emanaciones” as speaking to a blurry and spiritual ephemerality, but the industrial drones and wheezes which bubble up out of the murk point to emanations of a more chemical and toxic manner. That it simply cuts off after nearly fifteen minutes with no progression or resolution adds to its stymieing effect. One could indeed even question whether the seemingly arbitrary run time of the compositions is yet another means through which common ideas of structure and catharsis are thwarted. The one exception is the closing title track, yet another lengthy piece which slowly adds some trepidatious harmonies and wet yet processional percussion, offering some scant grounding in time and place.
Oro Naciente by Madrelarva

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It falls to the Lady of the Manners to inform you, Snarklings, that a cycle is repeating itself. Apparently the fashion industry has yet again discovered us. As reported by the Wall Street Journal, no less.

chillin wit da squad

Dracula and bats Gahan Wilson giclee print. by GahanWilsonGallery, $25.00

Bedless Bones
Sublime Malaise
Cold Transmission Records

Sublime Malaise, the debut LP from Kadri Sammel as Bedless Bones belongs to the school of aloof, European darkwave. Where records of that genus often walk a line between lush intimacy and steely resolve, the Estonian project resolves the tension between those poles within the LP’s songs, giving the album an energy born from synergy rather than conflict. That unity of mood and execution is Bedless Bones’ biggest strength.

The synthesized compositions that make up the instrumental skeleton of Sublime Malaise are built up from a solid foundation of quantized drums and synth bass delivered at mid-tempo. There’s a rigidity to the way the rhythm track pumps on “Limbs Entwined” and “Sad and Alone” that works in their favour, with mechanical grooves that are possessed of both energy and robotic precision. “Drifting” goes slightly groovier and ends up sounding like the crossover goth electro-industrial sound of the mid-to-late 90s, bringing acts like Diva Destruction and Claire Voyant’s more upbeat moments to mind. The sound design palette has a coolness to it across the board; the space between sounds in the mix and the chilly nature of the pads and leads contribute to the reserved tone of the proceedings.

That sort of restraint runs the risk of sounding detached and dispassionate. It’s Sammel’s vocals that do the work of injecting feeling, colouring the mood of the songs with shades of desire, melancholy and fervency. Like the instrumentation, Sammel favors a deliberate and articulate delivery, expressing emotion without going over the top. It’s a finely controlled balance that she manages ably; she expresses a dignified yearning between synth strings on opener “Nemesis Unborn” and a subtly shaded ennui on standout “Where Is My Voice”. There are a few moments that do suffer from how measured she can sound – the gentle balladry of “Losing Control” feels guarded to the point of disaffection – but by and large it works in the record’s favour.

It takes a few listens to Sublime Malaise to really get Bedless Bones. Which is not to say the album’s first playthroughs aren’t enjoyable, but that the specific way that Kadri Sammel never tips her hand as a producer and performer gains power with successive listens. A number with the thick and proximal sounds of “Heavy Words” gains strength through familiarity; the tiny gaps in its impassive facade slowly revealing what lies behind. Those brief moments of closeness are Bedless Bones’ stock and trade.

Buy it.

Sublime Malaise by Bedless Bones

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Phuk yeah Pharmakon.

The Senior Staff break down the anatomy of a club night on this week’s episode of We Have A Technical. From format to venue to promotions to DJs to audience, what makes a club night work or fail? Plenty of discussion on that, Pharmakon, deeply obscure US EBM, and the spotted legacy of Thee Temple of Psychick Youth on the latest episode of the IDieYouDie.com podcast. You can rate and subscribe on iTunes, Google Play Music, or download directly or stream from Spotify or the widget down below.

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Replicas is the handle we use to write about reissues and archival releases, offering some thoughts on the original material, and whatever additional goodies or format shifts may have been appended. This week, the debut from a deep scene Belgian EBM act gets an anniversary reissue…

The Force Dimension
self-titled
XII Chasov

What is it?
The debut record from Belgian EBM act The Force Dimension has a somewhat confusing lineage. The duo of Tycho de Groot and Rene van Dijck went to the studio in 1989 to record an LP on the strength of a 7″, however the resulting record was disavowed by the band itself. Engineered, produced, and mixed by Jean-Pierre Everhaerts and Luc Van Acker (the latter of whom also contributed guitars and vocals), the LP featured smooth synthpop stylings, derided by the band as being too akin to the Pet Shop Boys. The band then rerecorded the record in a much rawer style with uncredited production help from Dirk Ivens. To compound matters, both versions were released by KK Records with identical index catalog numbers, with only the red album art to distinguish the Ivens-aided version from the blue Van Acker one. Thirty years on, we have a tape reissue of the former provided by XII Chasov (who’ve recently done cassette reissues of Sun Ra, Nurse With Wound, and LPD recordings amongst others).

What’s on it?
While there are interesting conversations to be had about the respective merits of both versions, there’s no doubt that this one communicates the sort of punchy, fiery energy the band were reportedly hoping to tap into. Heavy and squelching sampled keys carry the bulk of the weight on tunes like “Dust” and “All Systems Out”, and the sparse tension and ominous vocals of “Dying Nightlights” make apparent the band’s interests in Dirk Ivens’ work. But even with all that intensity, there are flourishes of lighter and more melodic sounds which perhaps made Van Acker latch on to the pop potential of The Force Dimension in the first place. The keening vocals of “Tension” draw upon the aforementioned history of Belgian new beat, and the slow, gothic grind and florid sampling of “Opera Erotika” has the kernel of something more grandiose and ornate than its literal execution. The horn samples on “You Essay” could just as easily be thought of in the aforementioned synthpop context as in that created by countrymen Front 242 a couple of years later on Tyranny For You. This tape version also offers one bonus track, “Aqua 2000”, a b-side from the contemporaneous “Dust” single that jams their overdriven samples and beats up against some operatic vocals.

Who should buy it?
The sort of sound The Force Dimension trade in is enjoying a bit of a resurgence right now, with folks like the Vertex camp, Visitor, and New Fabrikk mining the history of late 80s/early 90s EBM, and it’s always fun to revisit lesser known examples of this style. That the material here was able to be re-presented in such varying forms should also be of interest to scene heads, especially given current tendencies to metastasize the idea of “old school” EBM into a very limited and stripped down iteration.

Buy it at Bandcamp.

The Force Dimension (1989) by The Force Dimension

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It’s tough to have projects in the hopper we can’t quite announce yet for one reason or another, as we get incredibly excited to share them. In lieu of actually being able to spoil either of our big announcements (look for some words on both in the next couple weeks) we’d like to take a moment to thank our community of readers and listeners for making this stuff possible. Whether it’s via a Patreon pledge, participating in Telekon on Slack or sharing our articles and podcasts on social media, pretty much every cool thing we’ve gotten to do with ID:UD is entirely do to you folks. We’re thankful and hope the new stuff on the horizon will be to your taste. Why not take in some Tracks while we wait together?

Statiqbloom, “Streetcleaner”
Via the good folks at CVLT Nation (what’s up Sean!) comes a tribute to Godflesh in the form of a complete cover of their landmark Streetcleaner LP. Amongst contributions from Street Sects, Hissing, and Atriarch, you can find this absolutely excoriating version of the title track by NYC industrialists Statiqbloom. If paint-peeling scorn is your thing, do not miss the duo on tour up and down the West Coast this fall with Physical Wash!
GODFLESH Streetcleaner: The CVLT Nation Sessions by Statiqbloom

Actors, “Slaves (FM Attack RMX)”
Our own local heroes Actors have made no secret about wanting to bring a sense of polish and hi-def presentation to their music and live shows, and that’s extending to remixes. While the band are still touring in support of last year’s excellent It Will Come To You LP, they’ve also just offered up this radical reinterpretation of live staple “Slaves”, reworked by Vancouver synthwave producer FM Attack. Actors certainly haven’t had any trouble earning club play at the sort of joints we haunt, but who knows, something this bubbly and smooth might prick up some new ears.
Slaves (FM Attack RMX) by ACTORS

Caustic Grip, “Erasure”
Australian body music act Caustic Grip return via Seattle’s Vertex, with seven brand new tracks, due November 1st. Like their previous work, we’re struck both by their nods to classic genre entries (as their name suggests) while also exploring some new melodic territory. All produced with gumption and DIY grit, they’re a solid act in the current wave of rising industrial acts they share a label with.

Body Beat Ritual, “Deplatformed”
While we’re in Oceania, let’s check in with techno-body act Body Beat Ritual, who have been gradually establishing a rep for strict tempos and clanging percussion intended for the dancefloor. The title tracks on new EP Deplatformed follows in that tradition, but the following numbers dip into some interesting technoid and rhythmic noise concepts. All songs are high BPM dancefloor banger affairs, although the added stylistic dimension keeps things fresh and appealing.
Deplatformed by Body Beat Ritual

Mind | Matter, “Peste Nera”
For all we imagine Detriti Records having their senses attuned to the most outre and progressive sounds which might be just beginning to take hold in lesser known scenes and corners of the world, they’ve also shown a fine ear for no-frills EBM, and the debut release from Mind | Matter fits that bill perfectly. Four instrumental tracks of hard-hitting, acid-styled beats forged into techno-esque structures like this one, slightly recalling our beloved NTRSN.
𝔐𝔦𝔫𝔡 | 𝔐𝔞𝔱𝔱𝔢𝔯 – Peste Nera by Detriti Records

Pod Cast, “Pursuit Of The Fireflies”
Dead King’s Dream, the musical accompaniment to a D&D campaign (real or imagined), was one of the oddest but also most soothing releases we encountered last year. Now, the Pod Cast party has reconvened for a sophomore session, Saving Throw. At first pass, the combination of dungeon synth and neo-folk which just plain worked the first time around is still in full effect. Boot up Pool Of Radiance and cue this tune up.
Saving Throw by Pod Cast

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Sexy bar girl's

Horror art

Natura EST
Second
Mahorka
When Tony Young (autoclav 1.1) and Andreas David (xotox) team-up as Natura EST, they make dark ambient music that sits far afield from their respective technoid and rhythmic noise projects. Like on their debut release from 2018, Second is monolithic in nature, presenting vast soundscapes that move glacially across the stereo spectrum, austere and constant. The strength of the pieces is largely contained in their sense of opacity; when your ear picks up some modulation or movement behind the facade of “The Flawless Shore”, or senses the gradual winnowing of tense vibrations that define “Disaster in Slow Motion” it reinforces the scope and scale of those songs they’re a part of. It’s a classic play for dark ambient as a genre, although one wonders if some of the duo’s experience working with rhythm and melody don’t inform it somewhat: check the lonesome pads that barely peak up through the waves of reverb at the climax of “Deluvium” or how “Carbon Emission” uses far more mechanical design elements than its neighbours in ways that feel proximal to each producer’s own primary work. It’s a meditative affair as you might expect, with strength that flows directly from how unhurried and deliberate it chooses to be.
Second by Natura Est

Kangarot
Kid Goes To Night School
self-released
A rough and tumble approach to electro-industrial and related sounds has always been a large part of the appeal of Josh Reed’s Kangarot project. Given that, the prospect of him releasing a hitherto unheard record of early material raised the question of exactly how raw and unpolished Reed’s juvenalia might be. Turns out that Kid Goes To Night School isn’t comprised of the grainiest drum loops imaginable, but rather presages Kangarot’s space synth stylings with some very conscious homages to the scores of John Carpenter (the original ones, not Carpenter’s admirable recent work). Deep and by now classically familiar string pads and ominous sweeps and chimes thread through homages to the minimalist but strident scores of dozens of B-movie classics. The tinkling jig of “Midnight Shade-Deadboys in Blue” and the spunky synthpop of “Treasure Room-Book of Shadows” clearly prefigure the fascination with space synth which Kangarot would explore to fruitful ends on Nursery Of New Stars. It’s a record that’s certainly beholden to its immediate influences, but amidst the perfectly able homage one can hear traces of the unique personal trajectory Reed’s been moving along as Kangarot ever since.
Kid Goes to Night School by Kangarot

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Rhys Fulber
Ostalgia
Sonic Groove

There’s a lot of nuance in the construction of Ostalgia, the new album by Rhys Fulber. The scene-legendary producer and programmer’s 2018 LP Your Dystopia, My Utopia – somehow the first released under his own name despite his decades behind the boards and on stage with Front Line Assembly, Delerium, Conjure One and a host of other acts – was a foray into the broad world of techno-industrial, with banging dancefloor cuts shaded by Fulber’s sensibility as a studio craftsman. Ostalgia feels different, and while the rhythmic focus is the same, the songs and their appeal often feel quite distant from the dancefloor.

Much of the record is constructed from a fairly basic template. Arranged around deep grooves that eschew standard 4/4 doof, each song us built up from the rhythm programming’s foundation. The atmospheric and melodic elements, from chittering IDM synths to orchestral flourishes, are easy to latch onto, but repeated listens reveal the strength of the bass and drum programming; Fulber can take a straightforward layout of of kicks and inject it with a syncopation that adds dimension to the layers samples and synths on “Neolithic Chasm”, or deconstruct and rebuild his drum arrangement to accommodate sweeps of texture and squelching analogue synth effects as on “Apostel”.

That approach has both positive and negative effects on the listening process. Fulber is a masterful designer and builder of sounds, and a huge amount of the appeal of Ostalgia comes from really paying attention to how he puts things together and the amount of movement and depth there is in his individual musical elements. That’s a subtle pleasure oftentimes, and in practice the record tends to bleed from one track to the next, feeling more like a collection of musical scenes than individually conceived songs. It’s telling that one of the record’s brassiest and most forward moments, namely the Brainbug-esque synth strings on “12 Steppes” are so memorable; they’re one of the few moments where the spotlight is on a broad melodic element instead of a micro-level detail. There’s an ephemerality in many of the album’s finer moments, and they can be lost if you aren’t giving them your whole attention.

Ostalgia is a thinker of a record then, one whose individual pleasures come into focus from close listening and repeated visits. There’s much to consider in examining how Fulber puts everything together, and those who engage with it from that perspective should uncover its rewards.

Buy it.

Ostalgia by Rhys Fulber

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Coming at you a day earlier than usual (and for the rest of the year), We Have A Technical is discussing a pair of record at opposite historical ends of goth rock, which may have some less than obvious connections to Our Thing: lié’s Consent and Lene Lovich’s Flex. Where do deathrock and riot grrrl blur together? How did camp theatricality influence pre-formalized goth? We have opinions about all these things and more, including some discussion of the new KMFDM record, on the latest episode of the I Die: You Die podcast. You can rate and subscribe on iTunes, Google Play Music, or download directly or stream from Spotify or the widget down below.

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Kontravoid
Too Deep
Fleisch

The dark dance music landscape has radically changed since Cameron Findlay unveiled his solo Kontravoid project some eight years ago and made an impression on us with a self-titled LP. The early industrial influences Findlay was drawing upon have reentered common parlance, and an unfathomable number of producers are engaged in a Teutonic arms race, attempting to develop ever harsher and bleaker industrial beats to penetrate Berlin club bunkers. This isn’t to suggest that Kontravoid’s been standing pat in the interim; a string of solid singles, capped off by last year’s excellent Undone EP found Findlay honing his EBM and techno skills. Now, with second LP Too Deep, he’s both doubled back on his original strengths while also consolidating his newer, heavier sound.

Too Deep‘s A-side leaps for the jugular right from the start, with the squalling noise and bassy distortion of “Open The Wound” and the speedy EBM of “Turn Away”. Those tracks, plus the extra swing added to the death-acid of “So It Seems – Version 2” (a more staccato version saw release as a single a couple of years back) seem tailor-made to establish Findlay’s bona fides as a darker and heavier producer than those who missed out on Undone, or who haven’t checked him out since the debut LP, might presume.

But Too Deep isn’t just relying on handy (if effective) markers of intensity. On a first pass at Too Deep I immediately recognized a number of tracks I would have heard only during the couple of live Kontravoid sets I’ve caught over the past year. And while some of those numbers are part of Kontravoid’s heavier and darker shifts, it’s often the long-established melodic side of the project which leaves a lasting impression, especially as the LP moves on. The title track carries a surprising amount of simple but hooky melodic punch beneath its dense clatter and rolling tom fills. The fuzzy mesh of pads which sit beneath the relatively sparse “Distress”‘ kicks are similarly catchy.

The work of Dirk Ivens is a comparison I never imagined I’d make with Kontravoid (and no, it’s not just Findlay and Ivens’ shared proclivity for eerie facial coverings). But between the Dive-like aggression of tunes like “Open The Wound”, the savvy minimal melodies with hearken all the way back to Absolute Body Control, and a slight vocal similarity it’s a well-earned reference. Maybe most importantly, Findlay is beginning to show that, like Ivens, his work can go through stylistic shifts and can wax and wane in aggression while still clearly communicating his own signature artistry. Recommended.

Buy it.

Too Deep by Kontravoid

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Hot off trips to Chicago and discussions of now-classic dark Vancouver records, it was a weekend of local shows, with Alex checking out sets from our (and everyone else’s) recent discovery Debby Friday, and lié. Longtime readers will know that we’ve long held a great deal of affection for the latter, and we’re sad to learn that this weekend’s gig (held in a boxing ring, no less) looks to be the trio’s last for the forseeable future, with Ash Luk following in so many contemporaries’ footsteps and heading to Berlin to pursue techno success with the Minimal Violence project. It sounds as though there will be a new lié record out in a few months, so if you haven’t yet cottoned on to the band’s aggressive and compelling “coldpunk” style, you’ll have at least one more chance.

bye lié hope to see you again soon

Randolph & Mortimer, “Exclude/Divide (Chrome Corpse remix)”
What happens when Sheffield true-schoolers meet Seattle’s hottest underground electro-industrialists? Some fuckin’ dancefloor blue flame emojis, that’s what. Readers of the site should be well familiar with both Randolph & Mortimer and Chrome Corpse by now, two distinct acts who share a passion for classic body music sounds and ideas but present them in fresh and exciting ways. Getting to hear them team-up here (as part of R&M’s new single for “Exclude/Divide”) is a real pleasure. We can’t wait to hear the reciprocal remix at some point down the line.
Exclude/Divide by Randolph & Mortimer

Body Of Light, “Time To Kill (Cooper Saver Remix)”
Speaking of mixes, Body Of Light not making it across the border for the Vancouver stop of their recent tour with Drab Majesty only whetted our appetite for more of the honed-in synthpop sound featured on Time To Kill, and the duo have obliged…sort of. This mix from LA DJ and producer Cooper Saver retains all of the vocal impact of the original, but cross-hatches it with some throwback house and electro flavour, and somehow manages to underscore the early 90s technicolor melancholy.
Body of Light "Time To Kill" (Cooper Saver Remix) by Body of Light

Figure Section, “Spectre”
Shouldn’t be surprising to anyone that aufnahme + wiedergabe remain a source of new and exciting darkwave sounds; even this late in the year we’re hearing brand new things from the must-follow multi-genre dark music label. The latest act to be brought to our attention through them is Brussels’ Figure Section who ply a nervy, EBM-inflected darkwave sound. “Spectre” falls neatly into the category of new dark electronic acts who are steeped in the history of synthpop and body music but who push big melodies that nod to classic goth sounds. Good and austere sounds that will have us checking in on this band’s releases going forward.
Spectre by Figure Section

Ganser, “Buio”
Our favourite “difficult” post-punks, Ganser, look to be taking it a tad easier on us with their forthcoming EP, You Must Be New Here. In comparison to just how tight, frantic, and noisy their past couple of releases have been, a tune like “Buio” practically feels like a coastal holiday with its welcoming harmonies and smooth vocals from Alicia Gaines. Big Winter Severity Index and even The Prids feels from this one.
You Must Be New Here by Ganser

Bedless Bones, “Limbs Entwined”
Here’s some beat-driven darkwave coming out of Estonia, but don’t worry, it doesn’t skimp on the atmosphere. Kadri Sammel has been part of the longstanding (and slightly more metallic) Forgotten Sunrise for a few years, but her solo project is only now getting a full release. Plenty of dancefloor appeal here, and very much in keeping with our experience of Estonian techno-EBM parties (no, really!).

Shrouded Tongues, “The River”
We generally don’t cover dungeon synth here on ID:UD. It’s not out of any real dislike for the genre, but more out of a lack of knowledge of its vast underground expanses. That said when something like this here song by Portland’s Shrouded Tongues comes across our desk it’s pretty hard not to deny it. Located somewhere between kosmische and the giallo end of synthwave, this one benefits from headphones (gotta hear those stereo effects) and maybe some candles and incense for atmosphere. If you wanted to grab the cassette it’s probably too late by now, but you can still snap up the digital version on Bandcamp.
Sinking the Raft by Shrouded Tongues

The post Tracks: September 30, 2019 appeared first on I Die: You Die.

On this month’s Patreon-supported bonus podcast, we take on one of the best Vancouver albums of the last decade, synth-punky darkwave modern classic The Killing Scene by Animal Bodies. Personal reminiscences and observations about what makes the record special mix as we examine what has brought Bruce and Alex back to this obscure local classic time and again over the last 5 years! You can rate and subscribe on iTunes, Google Play Music, or download directly or stream from Spotify or the widget down below.

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Fractured Transmission
Valley Electronics vol. 1
DTH X CMP
Nick Viola’s Fractured Transmission are a project we associate with rhythmic noise, although with the release of his new EP that descriptor is feeling less and less accurate. When last we heard from the Los Angeles based project as part of DTH X CMP roster collab EP Simple Heresy (made in association with frequent collaborator Hex Wolves and The Yage) Viola was exploring the dark ambient and ritual aspects of his work, and in a sense Valley Electronics vol. 1 continues in that vein. The difference being that this is almost purely a proper noise release. Freed from rhythmic formalism, tracks like “Skin Walker part 1” – a track that sounds like an overdriven bass guitar being smashed to pieces in slow motion – and the burbling, disintegrating “Look Through a Feral Eye” show off Viola’s sound design sensibility, and his capacity to build crushed and shredded soundscapes that engage the ear rather than punish it. The ringing static and fluttering white noise of “The Glass Tempest” has a painterly abstraction to it, structures and shapes summoned through arrangement that suggest broader musical ideas without directly referencing them. With the final track “Bury Me In Salt So My Wounds Never Heal”, Viola filters and processes his waves of noise until they melt down into pure ambiance, a fitting end to a release that feels like a meditation on texture and the grain of its components.
Valley Electronics, Vol. I by Fractured Transmission

Oil Thief
The Colony
Chondritic Sound
Oil Thief producer Lee Landey arrived in 2015 with an intriguing blend of noisy beats and fuzzy washes of distortion, all smoothed out with some shoegaze-ish ambiance. After a spate of singles he’s back with a mini-LP which splits up some of those sounds into individual case studies, often bringing them into extreme focus. The grinding, rhythmic noise (but not, y’know, rhythmic noise) which forms the base of lead track “Suzanne Takes Your Hand” drops away abruptly, only to rise again out of foreboding, low harmonic soup while “Illustrated Tourniquet” keeps the beats at heel. After that pair of beat-heavy numbers things grow more outre with the combo of field sampling, squiggling sine waves and creaks on “Hamburg” and “Cologne”. It’s actually odd how many pairs and trios of tracks sound like grouped tracks from collated singles rather than parts of a single release, but if nothing else The Colony keeps the listener on their toes. Still, a warm but unyielding mix full of rich and wide pads and chimes fills out the tracks well, be they overtly noisy or more sedate (having a sonic wunderkind like Josh Eustis mastering things certainly can’t hurt the sound design). Good stuff which wins out via both pure experimentation and inviting and enveloping tunes.
The Colony by Oil Thief

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One half of the Senior Staff took in the four days of rivethead festivities in the Windy City this past weekend, Cold Waves Chicago! We have a full report on all the goings on from both the main stage and the after parties, and best of all we have interviews with the likes of Bootblacks, Chemlab, Twin Tribes, Andi Harriman, and Sean Payne. Whether you’re looking to catch up on what you missed out on or are looking to relive all the Wax Traxy fun, this week’s episode of We Have A Technical has you covered. You can rate and subscribe on iTunes, Google Play Music, or download directly or stream from Spotify or the widget down below.

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