Observer: Wilshire Corridor & Cruel Diagonals

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Wilshire Corridor
The Fig & The Wasp
Dune Altar

How do you describe a band like Wilshire Corridor? The Los Angeles based project certainly draws from a few different wells for The Fig & the Wasp, but none of the genre tags you might be tempted to apply to them quite fit. In hearing opener “Doors to Nowhere”, with its grinding, dirgy synths and guttural black metal vocals, you might be tempted to call them dungeon synth. Then again, that doesn’t really reflect the clean chiming quality to the mix, and how clarion the electronics are on instrumentals like “Smog Spirit” and “Return to Earth”. If you only heard the deep drones and thudding war drums of “Ember” you could be forgiven for thinking of them as a death industrial act, but that doesn’t square at all with the 909 claps and spiky sequencing on “Terminal”, not to mention the tweaky electro of “Curtain”. Being hard to pin down is all for the best though, as Wilshire Corridor manage to craft all these disparate stylistic markers into a satisfyingly complete whole, that quickly tutors the listener not to expect the record to stick to one lane for very long. The Fig & the Wasp a satisfyingly varied listen within the parameters it sets out, presenting its ideas in a fresh and invigorating fashion.
The Fig & The Wasp by Wilshire Corridor

Cruel Diagonals - Pulse Of Indignation
Cruel Diagonals
Pulse Of Indignation
Drawing Room Records

Megan Mitchell’s new EP for her ambient/field recording project Cruel Diagnosis speaks to “recognizing the exploitation, grooming, and pain that she was subjected to as a young woman under the watchful eye of men with power in the music industry,” in the words of the PR copy. While something so biographically specific might be otherwise difficult to tease from the predominantly wordless tracks on Pulse Of Indignation, the sense of stifled dread they connote is apparent right from the outset. The exact origins of the field recordings Mitchell uses as the basis for these tracks are inscrutable, yet they hang about – whether as droning loops, muted chimes, or percussive tics – in the front of the mix for long enough that they evolve their own moods. These often prove to be sparse, trepidatious, and tense frameworks with which Mitchell’s vocals enter into uneasy dialogue. Mitchell’s vocals have a frail and mournful quality, even as they take up lilting sing-song, and the minor harmonizing Mitchell multitracks does nothing to brighten the mood. When at the EP’s close those elements, hitherto discrete and at least partially ordered, suddenly swarm and multiply, creating a cacophonic wave which pushes Mitchell wholly out of the record, the effect is unnerving. Why were these elements so comparatively restrained until now? What agenda might they have? Ascribing intent or agency to programmed sound, rather than the programmer, is of course, ridiculous on its face, but the eerie presences hinted at beneath Mitchell’s arrangements lead one into the uncanny.
Pulse of Indignation by Cruel Diagonals

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No Tolerance for White Supremacists. Ever.

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For this installment of Gothic Charm School, dear Snarklings, the Lady of the Manners is going to get political. Wait, no, that's the wrong word, because treating people with respect and not being a horrible excuse for a human isn't, and shouldn't be political.

We Have a Technical 243: Teutonic Twosome

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Tilo Wolff is the man, I heard he once sang a gothic rock song in space

We’re acting like a pair of old fashioned Germaniacs on the latest episode of We Have A Technical. Records by Lacrimosa and Steril are on the docket, alongside discussion of some new comments from Blixa Bargeld regarding industrial music, and the news of Ant-Zen withdrawing from the physical media business. Life may not be easy in Germany, but listening to the latest episode of the podcast sure is! If you wish 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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Borghesia, “Proti Kapitulaciji”

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Borghesia - Proti Kapitulaciji

Proti Kapitulaciji
Moonlee Records

The lengthy hiatus of cult electronic act Borghesia placed unreasonable expectations on their 2014 comeback LP, And Man Created God. Unlike a certain other Slovenian act I could name, Borghesia never traded in bombastic excess, and instead mixed an immediate and often funky style of body music with quirky and risque flourishes taken from minimal electronics and other tape-based experimentalism. That LP’s sardonic political sloganeering certainly fit the bill, though the musical changes which the core duo of Dario Seraval and Aldo Ivančič implemented with the help of a touring band were of a radically new cast. The mellower side of that record takes center stage on Proti Kapitulaciji, producing a record which is moody and mournful, yet still ultimately weird.

Listeners only familiar with Borghesia’s 80s and 90s catalog will likely be shocked by the sheer amount of guitar on Proti Kapitulaciji. And I’m not speaking of chuggy commonplace post-industrial rock guitar either – the new LP features a veritable stable of twangy country-folk guitar, overtaking the Snog-like sounds of its predecessor and heading straight into Morricone, or possibly even Chris Isaak territory. Thankfully, those excesses are offset by the record’s programming, although that generally eschews the band’s early screwball EBM style for the sake of laid back and often weary grooves which bring trip-hop and the more downtempo side of darkwave to mind. It’s easy to find parallels between numbers like “Kons” and mid-period Kirlian Camera, but over the course of Proti Kapitulaciji this new iteration of Borghesia establishes its own swing and sound, guided in no small part by the accompanying vocals of newcomers Irena Tomažin Zagorčnik and Jelena Rusjan, who lend clipped austerity when necessary (“Rodovnik”), but are more often called upon to dig out a newfound soulful side of Borghesia (“Na piramidi”, “Ljubljana spi”).

Speaking of vocals, English speakers may not be privy to the subtleties of the poetry of Srečko Kosovel which Borghesia set to music (though translations are thoughtfully offered on Bandcamp). While explicitly political, you don’t need to speak Slovene to recognize the agitated yet mournful tone of the record’s words. Addressing the contemporaneous birth of fascism in Italy head-on, Kosovel’s poems are a desperate plea for a population content to materialistically sleepwalk to awaken and cease offering concessions to fascism for the sake of ease. It’s fiery, impassioned stuff and yet it’s difficult to not detect some bitter prescience of failure. Whether that’s the result of historical perspective or Borghesia’s own spin on “the Slovenian Rimbaud” is uncertain, but the resulting angst meshes well with the ‘cultured’ yet forlorn tone of Proti Kapitulaciji.

There’s no getting around the fact that Borghesia is a very different entity now than they were during their initial run. Frankly, it’d be impossible for them not to be due to the sheer amount of time that’s passed, the absences of former members (several now deceased), and, presumably, changes in artistic interests in the interim. There are flashes of their more rhythmically aggressive past (“Jaz protestiram”, “Rodovnik”) and even absurdist sample pastiche (“Moj črni tintnik”), but it’s the grander melancholy of pieces like “Razočaranja I” which hold sway. These still showcase Borghesia’s sense of irreverence, but their rebellion feels informed, and perhaps tempered, by hard-earned wisdom.

Buy it.

Proti kapitulaciji by BORGHESIA

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Replicas: Fektion Fekler, “From Here to Heaven”

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Fektion Fekler
From Here to Heaven

What Is It?
While never as high-profile as Pendragon Records label-mates like Haujobb, Velvet Acid Christ or Gridlock, Texas’ Fektion Fekler put out two well-regarded LPs in the mid-to-late 90s. Brothers Robert and John Bustamante’s take on electro-industrial had dancefloor appeal and a heavy emphasis on melody, shot through with a love of eclecticism that gave their material lasting appeal. While the brothers’ later albums would dabble in integrating acoustic folk and rock music into their sound, 1996’s excellent From Here to Heaven is a focused effort that still sounds remarkably fresh some 22 years since its release. The recent addition of the record to the group’s Bandcamp has provided an easy opportunity to revisit an album that has a cult-following amongst rivetheads of a certain vintage.

What’s On It?
Presented in its original form, the Bandcamp release of From Here to Heaven holds up very well in a large part due to the cleanliness of the mix and the track sequencing which highlights the different faces of the project. Vocal tracks like “Immortal Faith (PWN Mix)” and “Shakedown” balance rhythm programming with big melodic pads, distinctive timbral synth leads and distorted vocals. These aren’t game-changers in terms of approach but are executed with a great attention to production and arrangement. If that’s all Fektion Fekler had had to offer it would be a fine release, but what really sets it apart are its ambitions. Check out how “Solution Tragedy (Last Cigarette Mix)” and “Tragedy Solution (32oz Mix)” interpolate one another, or how the Bustamonte brothers integrate orchestral sound design to album highlight “Diabolic Changes (Side Effects mix)”. Then there’s the way that the organ-led “Topp Ramen (6 for a $1.00 Mix)” was starting to integrate the sounds of electronica before it was fashionable for industrial artists to do so – all examples of the kind of interesting choices the duo were making when they could have played things much safer. While they bear an occasional resemblance to like-minded industrialists Individual Totem or Mentallo & The Fixer, their take on electro-industrial feels distinct and exciting to this day.

Who Should Buy It?
From Here to Heaven is a record that really puts an exclamation point on one of the possibilities of the digital marketplace; without needing a label or distributor to pony up to reissue it, Fektion Fekler are able to make their minor classic LP available to audiences new and old. Those who didn’t hear it when it came out and those who are always on the lookout for semi-obscure vintage releases in the style should make a point of adding it to their Bandcamp collections.

Buy it.

From Here To Heaven by Fektion Fekler

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Tracks: January 14th, 2019

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It’s not always 100% visible to us when we’re in the thick of it, but when we step back and look at the content and coverage we’ve done over the last seven and a half years of I Die: You Die, it really does feel like we’re covering more different music today than at any point in the site’s history. That’s obviously a function of how much things have changed in the broader world of Our Thing, and also how our personal tastes shape ID:UD’s coverage, but we’d also like to acknowledge the influence of readers of the site and listeners of the podcast have on us. We rely on y’all to tell us about cool stuff that we missed or might not yet be aware of, so as to make sure we’re hearing and hearing about as much music as is possible. All this is of course a lead-in to our traditional ask, if you have stuff you think she be covered or cosidered hereabouts, why not drop a note in the comments? We sure do appreciate it. Tracks ahoy 2019!

Hatari are doing like a Mortal Kombat/Matrix/Brazil thing?

Hatari, “Spillingardans”
Trying to sum up Iceland’s Hatari is a difficult proposition but let’s have a go at it: Hatari is a multimedia collective that make politically infused dance music with oddball melodies that “aims to reveal the relentless scam of everyday life”. The band do things like give interviews while ordering and eating fast food, perform with buff go-go dancers and opera singers and make NSFW videos where the band gets worked over in a sex dungeon. Sound appealing? Check out recent single “Spillingardans” for a taste of what these cats are bringing in 2019.
Spillingardans by Hatari

Creux Lies, “Made”
Sacramento’s Creux Lies released “Made” on the last day of 2018, capping off the year that saw them release their debut album Hearth on Cleopatra records. We’ll admit to sleeping on them, but hope to rectify that going forward: any band doing this kind of chorus-driven (chorus as in the guitar effect and also the element of songwriting) gothy post-punk is generally the sort of thing we enjoy around the HQ. The band have a bunch of dates coming up with proven quantity ACTORS coming up, so hopefully we’ll get the opportunity to see them in the Pacific Northwest before too long.
Made by Creux Lies

Arctic Flowers, “Rose In Bend”
Records get lost in the year end logjam all the time here at the HQ, and we weren’t able to take a proper pass at the latest from Oregon’s now-veteran act Arctic Flowers ’til now. The band’s been dishing out a bracing brand of peace-punk for nearly ten which speaks not only to the stormy weather and political climes of our shared Cascadian homeland, but also to the long-running intertwinings of punk, goth, and post-punk. Don’t be any more late to the party than us, and check Straight To The Hunter now.
Straight To The Hunter by Arctic Flowers

Download, “Gaslighter”
cEvin Key and Phil Western reuniting for new Download material feels like a natural cosmic phenomenon at this point: the somewhat rare but always reliable intersection of two astral bodies with their own orbits. Each will head off on their own excursions shortly after, but all manner of tidal and gravitational phenomena are likely to happen when they align. The teaser track from Unkown Room mixes some grimy and brapped out big beat production with the big and sweeping harmonic pads which the duo have used since their inception (no pun intended).
Unknown Room by Download

Randolph & Mortimer, “Reaganomic (original mix)”
Sheffield stand up, it’s a new one from native sons Randolph & Mortimer. Released on the massive 21 track techno-EBM [RND.R026] compilation, Randy & Mort vary it up on this one, summoning so classic post-industrial vibes with tweaky orch hits, punchy synths and nice rubbery bassline. We’ve made this point before, but R&M have a ludicrously good track record given how small their overall catalogue is, and it wouldn’t be hard to see their sound crossing over into a few different electronic music scenes. Get with it if you haven’t already.
[RND.R026] by Various Artists

Iron Court, “Dawn Falls”
You just can’t pin Detriti! down. As soon as you think you’ve circumscribed the boutique tape label’s yen for grimy oddball sounds from across all electronic and wave spectra, they’ll drop something incredibly clean and businesslike like the new EP from Italian techno producer Iron Court. Forget any retro sentimentality, it’s all strictly sequenced dancefloor stomping here, cleaving closely to the techno end of the current climate.
Iron Court – Thorns by Detriti Records

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Observer: Fjerstad & Bastet

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8-Circuit Neurorgasmic Trigger
Ephemerol Night Terrors

LA-based artist Chad Fjerstad’s first LP under his own name is some strange stuff to be certain. Where his previous output as Fractal Baths reveled in genre agnosticism, 8-Circuit Neurorgasmic Trigger zooms in on a sort of funhouse electro, albeit touched by IDM, glitch and general synth weirdness. Tracks like opener “Banging The Guixian Tam-Tam” and “Gun Guy 88” have deep, head-nodding grooves at their heart, but supplement them with bitcrushed percussion, wild pitch-bending synthlines and circular sequencing that turn each song back in on themselves. Smoother but no less funky is late album track “Kingdom Of Last Left Empaths: Partition D”, which sets up a simple Future Sounds of London type synth-exotica complete with chopped up syllabic vocals, a direct contrast to “Kingdom Of Last Left Empaths: Partition C”, the mournful flipside that actually precedes it in track sequencing. Fjerstad certainly seems happy to unnerve: “Z Babysitter” is a take on the sort of monotone female vocal come-on song popularized during electroclash, but concludes with a sinister rejection. More unpleasant still is “Under the Floorboards”, where synthesized voices discuss cannibalism against a backdrop of growling, cascading bleeps and synth washes. That those songs share space with a song like the dark and soulful “Myrrh Musik” is something, with Fjerstad finding different moods and sensations within his new area of focus.
8-Circuit Neurorgasmic Trigger by Fjerstad

Bastet - Dawn Of Darkness
Dawn Of Darkness

California and deathrock go together like, well, death and rock. On their debut EP, Oakland’s Bastet play a loose and languid version of their state’s trademark sound that points both to the genre’s garage precursors as well as more recent indie and punk acts who’ve taken a page from deathrock’s grimoire. There’s a jangling ease to a number like “Shadows Of The Night”, which nods along with doomy twang, making tempo changes so small you could be forgiven for mistaking them for the band nodding off. But the laid-back groove of a good portion of these four tunes makes a nice counterpart to the properly sharp vocals replete with classic goth and witchy imagery, and the fuzzy warmth which comes from buttressing basslines with simple synths. With a run-time slim enough to slide under the door of your average crypt, Dawn Of Darkness never risks wearing out its welcome, but it does a solid enough job of establishing the band’s vibe: half spiky, half stoned, all spectral.
Dawn of Darkness by BASTET

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We Have a Technical 242: To/For You

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Those dashing young body musicians

It’s the 242nd episode of WHaT, and you’d better believe the Senior Staff are making the most of it. They’re welcoming an all-star cast of friends of the podcast to celebrate and discuss the music and legacy of Front 242. From their famous live shows to the radical changes made across their discography, folks from across Our Thing are dropping by to speak about what it is that makes them such an enduring and beloved presence. Stand up you electronic insects! If you wish 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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Poison Point, “Bestiensäule”

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Poison Point
aufnahme + wiedergabe

French act Poison Point land squarely in a genre sweet spot on their 2018 EP Bestiensäule. While the frantic synth programming and thudding kick-snare patterns programmed by Timothée Gainet speak to a heavy quotient of EBM in the project’s DNA, the vocals and sound design have something of the European coldwave in them. The end result is a five-track release that emphasizes energy and movement, but operates at a cool remove that lends it some mystery and nuance for contrast.

Opener “Daily Void” lays out the Poison Point blueprint effectively. The minimal arrangement of muscly kicks and skittering cymbals drives a cycling bassline with occasional variation as Gainet recites lyrics in an affected monotone. It’s a approach that allows the song to move along at a fair clip, but also makes the moments where the drums drop out entirely or the addition of a melodic vocal line seem big and momentous. “Resigned Commander” follows suit with a choppy bass synth attack that occasionally drops into half-tempo, accentuating the return to sixteenth notes without ever changing the beats per minute. It’s a clever and surprisingly subtle bit of arrangement, and indicative of the care that Poison Point puts into keeping things from getting formulaic.

Those kinds of minor but vital bits of craft end up defining the latter half of the EP. Sections of “Night Relief” aren’t especially different or even distinguishable in a vacuum from the preceding songs, but by having the zippy programming emerge from a lengthy hallway at the song’s outset and then ornamenting it with a low, rolling bass sound it feels like an altogether different animal. Closer “Preachers” uses a long ramp, playing things cool for more than half it’s run time before allowing a minor outburst of instruments and vocals at its climax more than four minutes in, a brief moment of catharsis that fades as quickly as the song does.

It can be a little hard to believe Bestiensäule is almost 25 minutes in length: its pace and structure make each visit seem to go by in a blur. That it can stick to a gameplan that’s so easy to grasp and still find small ways to keep it interesting is impressive, demonstrating a thoughtfulness and light touch that isn’t necessarily noticeable at first, or even second glance.

Buy it.

Bestiensäule by Poison Point

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Vlimmer, “XI/XII”

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Vlimmer - XI/XII

Blackjack Illuminist Recordings

The odd titling of one-man German act Vlimmer’s latest release only obliquely acknowledges the speed with which Alexander Leonard Donat has been releasing work. These two simultaneously released and compiled EPs are, yes, the eleventh and twelfth such EPs under the Vlimmer name in four years, not including presumably ‘non-canonical’ EPs which aren’t treated to sequential enumeration (such as last year’s excellent=””>Angststand). That productive run perhaps finds some explanation in the range of styles Donat works with across XI and XII: in cycling between coldwave, minimal synth, martial pop, and plenty of other sounds so rapidly, Vlimmer feels like a project desperate to keep as many plates spinning as possible. In spite of that hurried schedule, the resulting compositions are almost always enthralling, with canny grooves and instrumentation choices finding Vlimmer meeting the challenges of the genre expeditions Donat embarks upon.

If Angststand‘s tracks showcased an inscrutable and otherworldly aesthetic often kept at a distance from the listener, the tracks here operate within much more familiar milieus. The dreamy yet propulsive coldwave of “Leben” and the gothic drear of “Regen” aren’t without precedent, or even clear templates for that matter, but Donat keeps shuffling between moods and sounds so quickly that each number feels like a splash of cold water, keeping you from ever becoming wholly lost in the atmosphere. The promo copy speaks of a distinction between the lighter and more atmospheric stylings of XI and XII‘s more up-tempo and aggressive approach, but even that sort of division doesn’t really keep things static: the bubbly synthpop melodies of XII opener “Farblosigkeit” couldn’t be further from the rough, lo-fi drama of the subsequent “Krakenkombat”.

Perhaps the one element linking each and every one of these songs and styles is Donat’s vocals themselves. Delivered in gulping and tortured German, there’s an odd combination of pained emotion and ghostly detachment in how Donat works his way around the dense clatter of “Zerschmetterung”, or adds keening croons to the engrossing upward climb of closer “Asphaltdecke”. As mentioned above, plenty of Vlimmer’s charm comes from its quick-change artistry, but it’s nice to have a clear sense of the spirit of the person behind such multiplicity. While less abstract than the Angststand release which got us in the door, XI and XII show off just about everything else Vlimmer has to offer.

Buy it.

XI/XII by Vlimmer

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Tracks: January 6th, 2019

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After several weeks of vegan holiday roast coma, we rise from our slumber and return with this, the first batch of Tracks from 2019! Okay, sure, fine, a handful of these were likely released before the ball dropped, but you take our point. It’s in these weekly posts that we often begin to find the first hints of broader trends and significant full releases, so join us for another year of quick, weekly batches of the hottest new tunes in Our Thing!

The Present Moment present and accounted for

Continues, “Unsweetened”
Few things bring us joy here at the ID:UD HQ like new music from Continues. Dan Gatto’s emotive synthpop remains one of our lodestars, and we couldn’t imagine a more hopeful beginning to 2019 than this driving “get up and do it” tune. A combination of reflection, inspiration, and hard-earned wisdom, “Unsweetened” gets to the heart of what makes Continues great instantaneously. Between this and the excellent “Fall Tragic” single from a few months back, it’s wonderful to hear Dan back in action.
Unsweetened by Continues

Helix, “Like a Drug (Neuroticfish remix)”
Mari Kattman and Tom Shear made a good album in Helix’s 2018 debut Twin, showing off the former’s rich expressive range as a vocalist and a versatility of the former as a producer. Pay-what-you-want remix release Helix Remix speaks to that well, with alternate takes in differing styles offered up by the likes of iVardensphere, Jean-Marc Lederman, Iris, Adoration Destroyed and others. In particular we were taken with this version of “Like a Drug” rendered by Neuroticfish, which takes the lush and moody feel of the original and injecting it with a clean, high-grade melancholy.
Helix Remix by Helix

Klack, “Addicted to Love”
Okay, industrial covers of unlikely pop songs is an old trope, but one that can still yield some fun results as evidenced by this Klack cover of Robert Palmer’s “Addicted to Love”. The original’s outsized eighties rock is a hell of a canvas for Oehler (Null Device) and Fanale (Caustic) to work with, and they come through with a new-beat tinged synthpop version that eschews cheese for a cool, continental charm. Considering the original is mostly remembered for having a video with expressionless Nagel-girls in it, maybe Klack’s version has more aesthetic ties to it’s source than it seems at first blush.
Addicted To Love by klack

V▲LH▲LL, “Aeons Unveiled remixed by Xenturion Prime”
V▲LH▲LL’s Grimoire fared well on our Year End list by virtue of offering the strongest and broadest set of music yet created by our favourite witchy Swedes, making the possibilities for their forthcoming remix release seem boundless. That’s especially the case when one notes that Grim/More will feature contributions from the likes of SØLVE, Glass Apple Bonzai, and Seeming. The poppy post-trance stylings of Xenturion Prime may seem at odds with V▲LH▲LL’s misty atmospheres, but everything comes together well on this remix, portending well for the full course.

The Present Moment, “Looking In”
We’ve been fans of Scott Milton’s The Present Moment basically since the moment we first heard them, so much so that Milton was one of the very first people we interviewed for I Die: You Die back in 2011. New music from the LA-based project is naturally then a source of some excitement for us. Enter “Looking In”, the first taste of what Milton and collaborator Jason Dunn have been working on. There’s a real beautiful simplicity in the violin-sounds mixed in with synthpop here, especially when contrasted with the noisy breakdown and funky electric bass workout at the track’s climax. Great and unexpected stuff from a band who won our hearts through consistently delivering the same. Can’t wait for the promised 2019 LP.
Looking In by The Present Moment

Zanna Nera, “Blood Debts”
The forthcoming Sacred Spells comp (which will be benefitting TGI Justice, an organization dedicated to helping trans people of colour) features an impressive list of contributors from the West Coast and beyond: from Texas (Twin Tribes) to Oregon (Ritual Veil) to our own backyard (Sigsaly). We hadn’t checked Oakland’s Zanna Nera previous to this, but there’s some solid darkwave churn to this witchy number.
Sacred Spells by Zanna Nera

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We Have a Technical 241: Magi’d Each Other

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I Die: You Die kick the new year off with an extended discussion of Laibach’s new record: a representation of tunes from “The Sound Of Music” for their tour of North Korea. All of the bugbears and thorns which come with Slovenia’s most stoic cultural product are in the mix, along with consideration of socialist realism, Anschluss, and Rogers & Hammerstein schmaltz. Get 2019 started with the latest episode of We Have A Technical! If you wish 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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We Have a Technical 240: Monét

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Okada/Omega IV: straight god tier shit.

Hey folks, it’s the last We Have a Technical of the year and the Senior Staff recorded it half in the bag and completely burned out from writing Year End coverage. You know what that means: it’s the annual off-topic podcast! To be frank we scarcely remember what we talked about on this episode last week, but rest assured there’s probably something about wrestling, video games, and maybe even a little politics in there for y’all. Thrill to the rambling anecdotes that go nowhere and chill with your friends Bruce and Alex! See you next in 2019! Don’t forget to rate and subscribe on iTunes, Google Play Music, or download directly or stream from Spotify or the widget down below.

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