DJ Surreal – March 17, 2024

Descent Sundays -

Prodigy – Firestarter
Frontline Assembly – Headhunter
MSI – Faggot
Repo! The Genetic Opera – Zydrate Anatomy
Rob Zombie – Living Dead Girl
Razed in Black – I Worship You
Die Form – Nature Destruction
Royskopp – What Else is There?
Eurthymics – Here Comes the Rain Again
Depeche Mode – People are People
Stacey Q – Two of Hearts
Scissor Sisters – Filthy/Gorgeous
VNV Nation – Honour
Faderhead – Dirtygrrls Dirtybois

The post DJ Surreal – March 17, 2024 appeared first on Vancouver Descent.

Observer: Helix & Anaerobic

I Die : You Die -


Helix
Unimaginable Place
self-released

Mari Kattman and Tom Shear’s collaborative project Helix is notable for the ways in which each of the artist’s own catalogues have remained distinct since their creative partnership formed. If you come to Helix for Shear’s well-established and thoughtful Assemblage 23 writing and production, or for Kattman’s distinctive vocal presence and sensibility, you’ll find them, but releases like Unimaginable Place are more than the sum of those parts. The title track is probably the easiest sell for fans of both artists – it’s got the bounce and clubbability of an A23 cut, and Kattman brings her tasteful diva-isms to bear – it sounds like what you would expect it to sound like based on their individual work. More interesting is what follows though; hear how “Lie to Herself” uses a slowly unrolling arrangement of synths, piano and electronic adornment as a backdrop for layers of vocals that ramp from ethereal to weighty with ease, or how “Grey” has a studied minimalism in terms of its electronics, mostly relying on a few synth arpeggios and simple drum patterns to get itself across. When the duo return to club fare on “Hurt Like Me” it feels distinct from the opener, with Kattman using her most forceful delivery on the chorus against snappy snares and guitar like synthlines that add to the song’s big rock operatics.
Unimaginable Place by Helix

Anaerobic - Sincerely
Anaerobic
Sincerely
self-released

Somewhat surprisingly, Alex Reed’s Anaerobic releases have coalesced into a stable aesthetic form, rather than just being a clearing house for whatever wild ideas the man being Seeming had which didn’t fit into the decidedly irreverent Kibble project. Nope, flying against whatever presumptions we might have had about the project when it started up a few years back, an EP like Sincerely cinches in the take on powernoise found on preceding releases Hope You’re Hungry and Frequently Asked Questions about The Pelican Brief (1993). The unifying thread of the EP is that each blast of noise functions as a piece of correspondence written under quite particular circumstances or to a very specific character, which might not be immediately palpable via the chewy engine-turnover wubs of “A Letter To The Hometown Football Star” or the cascades of radio pulses and feedback which score the recitation of vivid and paranoid nightmares on “A Letter You Should Not Read”. Short and varied enough to keep each texture and rhythmic impulse distinct from one another (much like Hope You’re Hungry, Sincerely finds Reed honing in on incidental rhythms and then repeating and underlining them with monomaniacal fury), some curveballs are thrown via pure gabber punctuated with flashcard facts about octopi, 90s chill-out replete with Glaswegian voice emulation, and as previously covered here, a neo folk meditation on notions of time, statehood, and post-humanism via sub rosa post. Relaxing tunes to spin as you await silent Tristero’s empire.
Sincerely, by Anaerobic

The post Observer: Helix & Anaerobic appeared first on I Die: You Die.

We Have A Technical 499: We’re Not Here To Talk About Trent’s Neck

I Die : You Die -

TDS 30

We ain’t getting any younger, and neither are the formative records which turned us into the sort of sick bastards who’d end up running a website for a dozen years and a podcast for nearly 500 episodes dealing with industrial music. To wit, on the occasion of Trent Reznor and so many other people’s comments on the thirtieth anniversary of The Downward Spiral, we’re dusting off our scratched CDs, getting our hand-dubbed tapes out of storage, and reconsidering one of the records which shaped our understanding of music in general, let alone industrial, lo those many years ago. Regular listeners will know that we barely ever talk NIN on this podcast simply because it’s well-worn territory by outlets much larger and broader than us, but this felt like the right time to do so. All that, plus some Of The Wand & The Moon and Gridlock talk. As always, you can rate and subscribe on iTunes, Google Podcasts, download directly, or listen through the widget down below. 

The post We Have A Technical 499: We’re Not Here To Talk About Trent’s Neck appeared first on I Die: You Die.

Kanka Bodewell, “Stroboscope”

I Die : You Die -

Kanka Bodewell - Stroboscope

Kanka Bodewell
Stroboscope
Infected Recordings

Orange Sector having a bit of a Tiktok moment thanks to the capricious algorithm gods descending upon their 2016 single “Farben” wasn’t something any of us had on our 2024 bingo cards. Whether that converts into broader sustained success for the German EBM vets is anyone’s guess, but that this crossover moment is happening at the same time that Orange Sector’s Martin Bodewell is releasing a collaborative album with Armageddon Dildos’ Uwe Kanka feels ironic. Despite being a good deal poppier and theoretically more accessible than most work by either parent band, Stroboscope is very much a product of sounds and styles which Kanka and Bodewell have been working in proximity to for years before the majority of kids streaming “Farben” were even born.

Stroboscope is something of a record out of time – apart from some very subtle production tics, there’s very little in the influences or instrumentation of the record which would prohibit it from being released at any point from the mid 90s to the present. This is a record formed by and aimed for the European dark club milieu of the past few decades (it seems fitting that in a recent interview with Synthpop Fanatic the duo recently stated that the prospect of the collaboration has existed for more than a decade), and by that measure it’s a real treat. The pure 90s synthpop of “Believe” (which is crying out for a remix EP) with its crooning vocal harmonies stands alongside the stomp-and-oomph of “Marathon”‘s Nitzer-styled EBM and tunes like “Sisters & Brothers” which sits square in the middle of the hybrid style we’ve simply defaulted to terming European electro.

It’s that peanut butter and chocolate combo of EBM aggression and synthpop sweetness which gives the record its identity. Again, nothing on the record is a quantum leap away from Orange Sector’s or especially Armageddon Dildos’ bouncier tracks, but hearing roots body music by veteran craftsmen like these two thrown into relief by bubbling melodies is decidedly addictive. The way that the monotone and stridently anhalt “Bleib Nicht Stehen” suddenly blooms into a lush and melodic synthpop-adjacent delivery on its chorus is a perfect summation of the charms of Stroboscope.

In their previous projects, both Kanka and Bodewell have experimented with the softer sides of the EBM scene they helped cement, and with this project they’re able to fully indulge in that area. Will anyone from the Tiktok generation make their way over to Stroboscope during the fifteen minutes of fame “Farben” has been afforded? Who’s to say, and who’s to say how they’d triangulate it against their own tastes, but for those of who’ve been tracking each man’s work since the Napster or mp3.com days, the bright melodic streak which runs through Stroboscope is a welcome refreshing of classic sounds. Recommended.

Buy it.

Stroboscope by Kanka Bodewell

The post Kanka Bodewell, “Stroboscope” appeared first on I Die: You Die.

Data Void, “Strategies of Dissent”

I Die : You Die -

Data Void
Strategies of Dissent
Metropolis Records

The return of Don Gordon’s storied industrial project Numb in 2019 was certainly a surprise, albeit not an unwelcome one; Mortal Geometry reasserted the classic electro-industrial style that defined the peak Numb years and illustrated that despite the two decade hiatus, Gordon was still capable of hitting the balance between considered programming and production and the project’s trademark rancor. 2024 finds Gordon collaborating with James Mendez of cult US act Jihad, an artist who had a similarly period of relative inactivity before returning to the industrial genre in 2020. It’s probably not a surprise then that their collaborative work as Data Void cleaves close to the 90s electro-industrial template as practiced by both acts in their heyday; Strategies of Dissent is something a of a stylistic throwback, but thankfully a rather enjoyable one.

There’s a definite priority on momentum and energy in the Data Void material, with atmospherics kept largely to supporting the layers of bass, leads and drum programming that make up the LP. A cut like “So Alien” has plenty of texture and mood to be certain, but so much of its desolate feeling comes from the contrast between its alternating 16th note and half-time bass and evolving drum parts that the pads that accent the chorus are more punctuation than anything else. Similarly the manic energy of opener “Nothing Changes” charges straight ahead with breaksy kick-snare patterns and huge droning synths that get cut to the quick by spiky leads for a maximally tense atmosphere that emerges from arrangement and structure.

None of which is to suggest the record is without nuance; for all of its emphasis on hitting hard, there are plenty of production details and creative choices that add depth and complexity to the proceedings. “Seven Seconds”‘ most notable element might be a chugging chords and dramatic strings, but the little glitches that dart around the edges of the stereo spectrum fill out its mid-tempo groove without ever fully emerging into the spotlight. The way in which Mendez’ vocals are kept entirely comprehensible and clear despite their processing (classic pitch shifting, doubling, and reverse reverbs are all in effect at various points) is one of Data Void’s smartest moves; a track like “Crash, Burn & Resurrect” works each bitten-off syllable’s placement against the song’s rhythm in a way that prioritizes the lyrics without needing to bump Mendez up in the mix.

The appeal of a record like Strategies of Dissent is obviously rooted in hearing two standard-bearers for gritty electro-industrial work together, although that also opens it up to potentially unfavourable comparisons to Gordon and Mendez’ individual catalogues. That it can withstand those expectations and still come across as something new and fresh while staying true to the legacy of its creators is impressive. Best-in-class material that reminds us of what made those caustic, unnerving and exhilarating sounds so appealing in the first place. Recommended.

Buy it.

Strategies of Dissent by Data Void

The post Data Void, “Strategies of Dissent” appeared first on I Die: You Die.

Tracks: March 11th, 2024

I Die : You Die -

Are we going to talk about The Downward Spiral on the podcast this week? ONLY TIME WILL TELL (but yes, that is the plan as things currently stand). While we’ve been talking a lot about nostalgia acts on We Have a Technical recently, there is something palpable about Trent Reznor’s magnum opus turning 30 that struck us as being discussion worthy, and indeed offers some angles for conversation that go beyond how sick of hearing “Closer” we are. So yeah, that’s gonna be a thing. Why not check out some new music in the interim though?

Feyleux

Feyleux

Houses of Heaven feat. MS.BOAN Mariana Saldaña, “Deserve”
Houses of Heaven’s sophomore LP Within/Without is way up at the top of our most anticipated records of 2024 based purely on the small tastes of it we’ve had thus far. If you haven’t checked out the foggy, dub-influenced on synthy post-punk the California trio make, well, why not dive in with this collab with the inimitable MS. BOAN (aka Mariana Saldaña of //TENSE// and Medio Mutante fame). It’s gauzy, lovely synthpop with just the right amount of edge and attitude to keep it spinning in your head long after its run time has expired.
Within/Without by Houses of Heaven

Echoberyl, “Through the Chaos”
French darkwavers Echoberyl return with the title track of their forthcoming LP, Through the Chaos. The duo made up of Adriano Iacoangeli and Cecilia Dassonneville have been making solid electronic darkwave in the classic European style for a few years now, and while Adriano has explored current dance flavours with his Fluid Ghost project, Echoberyl has focused largely on melody and atmosphere in their work. It’s intriguing then that “Through the Chaos” integrates some intringuing synthpop melodics and electronic vocal manipulation, reminding us of Greek favourites Marsheaux. Keen for this LP to come across our desk.
ICR128 – ECHOBERYL "Through The Chaos" by Icy Cold Records

Feyleux, “Lunaria Swirls”
The component parts of NC duo Feyleux’s demo single will be familiar to anyone who’s spent any time with the most traditional forms of darkwave over the past couple of decades. But when the chorus of “Lunaria Swirls” kicks in the project’s potential becomes apparent, with an understated but immediate refrain with an exquisite balance of melody and texture, plus a very solid vocal turn. Even with some pretty minimal production, serious pure darkwave chops are on display here.
Exposé by Feyleux

Urban Heat, “Right Time of Night”
Texas post-punk trio Urban Heat have had plenty of buzz for a while now, and the string of singles they’ve been putting out in the lead-up to their as yet unscheduled debut for Artoffact Records have kept those fires burning. Admittedly it was the live aspect of the band that first grabbed us – if you have yet to have the pleasure, they are an absolute force on stage thanks to the raw charisma and vocal presence of Jonathan Horstmann – but tracks like “Right Time of Night” show the development of their material from pretty decent, to snappy, focused and above all, extremely catchy.
Right Time of Night by Urban Heat

Principe Valiente, “Something New”
The opening lick might be a dead ringer for The Chameleons’ “Mad Jack”, but nope, it’s not a cover, and the rest of “Something New” gets across the strengths and charms of Swedish vets Principe Valiente in a very tight but expressive package. We’ve been checking in here and there with the band’s broad, dreamy, and decidedly melodic style of post-punk since 2011, and the power and atmosphere of this teaser has us excited for The Light coming this May.
Something New by Principe Valiente

Choke Chain, “Cruel (Modebionics Remix)”
If you checked Modebionics’ Precise Control LP from last year (or just read our review thereof), you’ll know that that act’s taste for vintage European dark electro seems a perfect counterpoint to the electo-nihilism of site faves Choke Chain. This mix of a tune from last year’s Mortality could easily be mistaken for original Zoth catalog or some hidden gem unearthed by the likes of Mecanica were it not for Mark Trueman’s unmistakable wounded howl.
Cruel (MODEBIONICS Remix) by Choke Chain

The post Tracks: March 11th, 2024 appeared first on I Die: You Die.

Observer: Unconscious & Bloodbeak

I Die : You Die -


Unconscious
Il Punto Di Non Ritrono
Oráculo Records

Even when techno-body music was peaking a few years ago, you could tell that Italian producer Unconscious’ tastes for the EBM side of the equation ran deeper than many of the other artists who had latched onto the style. That means that even as the fires of that particular trend are waning, Unconscious’ material still has plenty of juice for discerning body music fans as evidenced by new release Il Punto Di Non Ritrono. “Empire of Corruption” borrows lightly from a familiar Vangelis synth riff, but ends up building it out into a much rangier melody that snakes its way between gated reverb snare hits and a punchy bassline, with plenty of tense builds and and subtle switch ups for variety. Alternately “Hunger” works some big droney synths and far off vocal samples around metallic percussion and elastic rhythm programming that adds a touch of funk to the proceedings. Its just a fine blend of dancefloor cuts with some classic flavour, as heard on the relatively straighforward “Justice” with its snare and kick rolls keeping things lively, or the synthwave adjacent FM synth atmospheres of “I Am Broken”; fine tunes with retro appeal that dodge derivative pitfalls and easy but stale production tricks in their execution.
Il Punto Di Non Ritrono by Unconscious

Bloodbeak
Bloodbeak
Vibrofolk
Clan Destine Records

Glasgow’s Clan Destine Records specializes in legitimately underground punk, metal, hip-hop, and generally experimental releases, but occasionally offers up something of real interest to industrial fans, such as Timothee Gainet’s overlooked Aleister Blake tape or the Spit Mask demo. Now, they’re bringing something even more left-field to the table, albeit from a name longtime heads should remember in Mike Textbeak’s new Bloodbeak project. Taking a heavily deconstructed but decidedly funky approach to body music, the Vibrofolk tape swaggers its way through squelching marshes of bass, drum loops, and alienated samples. It’s a release that puts groove and mood at a premium well above melody, hooks, or even accessibility – yes, a record can be groovy and still directly confrontational. The lo-fi burbling of “The Rundown” is a through a glass darkly take on the sort of throwback linking of synthpop and EBM we’ve heard from Mellow Code, while the lurching string samples and detuned bass of “Mouthless” sounding like a Vampire Rodents reunion in an alternate dimension where Neubauten headed up the mainstream EDM wave. If that all sounds a little purple and overwrought, well, it is – this is a headfuck of a tape and intentionally so.
VIBROFOLK by BLOODBEAK

The post Observer: Unconscious & Bloodbeak appeared first on I Die: You Die.

We Have A Technical 498: Dividing Follicles

I Die : You Die -

Gloria Mundi

What on earth might records by Hocico and Gloria Mundi have in common with one another? In and of themselves, perhaps not much, but given that Hocico’s debut demonstrates how early the band’s decidedly harsher take on European dark electro was formed, and how a case can be made for Gloria Mundi being the first goth band, both fall well within the boundaries of We Have A Technical. In addition to those two records, Alex offers his thoughts on the Vancouver stop of the ongoing tour featuring Front Line Assemble, Gary Numan, and Ministry. As always, you can rate and subscribe on iTunes, Google Podcasts, download directly, or listen through the widget down below. 

The post We Have A Technical 498: Dividing Follicles appeared first on I Die: You Die.

Kontravoid, “Detachment”

I Die : You Die -

Kontravoid
Detachment
Artoffact Records

The arc of Cam Findlay’s work as Kontravoid has been one of aesthetic refinement. The 2012 self-titled debut LP introduced his take on synth music: a smoke machine and strobe-lit version of electronic darkwave whose gritty and saturated sonics have been the project’s calling card since. That sound has allowed Findlay to take Kontravoid through multiple genres and styles while maintaining a strong sense of identity; despite being an artist whose visual trademark is a featureless mask, there’s nothing anonymous about the his work. As with the excellent 2021 EP Faceless, new LP Detachment deftly applies those sonic markers to songs both melodic and driving to tremendous effect.

A not-so secret key to a lot Kontravoid’s best material is how good Findlay has gotten at synthpop hooks, and the record certainly doesn’t lack for them. Cuts like “For What It Is” and “Death Shot” have strong melodies woven into their arrangements of synth bass, snappy drums and Findlay’s processed vocals; the impact of their lead synthlines is a function of how dialed-in every element of the songs is to their delivery. There’s never been a more pop Kontravoid song than “Losing Game”, a cut that manages to split the difference between guest vocalist Chelsey Crowley of Nuovo Testamento’s nu-italo wheelhouse and Findlay’s own production and compositional trademarks.

The body music angle of the project is still well-represented on Detachment as well, with some interesting new angles introduced. If you’ve only experienced “Reckoning” via its hypnotic and utterly bizarre video, listening to music isolation from visual bombardment reveals some sneaky touches of big beat, expressed via its vocal sample punctuation and gated synthlines. “How It Ends” runs in a different direction, laying breakbeats underneath its pulsing waves of reverbed and panned electronics, a kind of robotic funk manifested via its syncopated bounce. Hell, “Sin Walker” is practically a futurepop jam, its arpeggios and tightly programmed drums evoking the melange of millennial dance music sounds that informed the industrial club genre.

The trick of Detachment is really how no matter what Findlay turns his hand to as a producer or performer, it still sounds like Kontravoid. The beatless synth-string led instrumental cut “In Reverse” is as characteristic of the project’s sound as the straight electro darkwave of “Fading”, or the menacing overture that is opening track “Awaken”. In a field crowded with acts mining the same influences and musical tropes, Kontravoid has ascended to best-in-class status by becoming a better version of what the project has been since the outset. For a catalogue whose recurring themes have been uncertainty, obscurity and self-doubt, Findlay has paradoxically become supremely confident in executing his musical vision, and Detachment is the proof. Recommended.

Buy it.

Detachment by Kontravoid

The post Kontravoid, “Detachment” appeared first on I Die: You Die.

Pages

Subscribe to Gothic BC aggregator