If you ever want to see a lunatic in action, armed with fake blood and music equipment then see Baptizer. I saw and performed with Baptizer in late 2012. This guy made me want to give up my day job, become a roadie for him, and worship his ass. Seriously. Not many people have a firm grip on entertainment in heavy music nor know how to keep a small-ish audience intrigued, but Baptizer does. I saw him play at the seminal underground experimental venue, Amma House, and while I had heard a few whispers of what to expect, I wasn’t fully prepared. In stepped a maniac, gripping a microphone in his teeth, drenching himself and others in fake blood via a found chalice, and pummeling our ear drums and body cavities with a sick assault of noise-addled destruction. Jim, as he’s pleasantly known, hails from North Carolina, has a normal life, a family, and a day job, but you would never guess that once he sheds his shirt and begins to destroy your ear drums. “Signs ov Apocalypse” is a noisy amalgam of a variety of styles mashed into one bludgeoning of sound. His music is pseudo socio-political with an undercurrent of religiousness – but don’t let that stop you. I almost guarantee that if you didn’t read that and just experienced his music, you wouldn’t disagree with him on anything. The fact that people have in the past discredited his musical offerings because of his views, one way or the other, is disheartening and shows a complete lack of respect for what an experimental genre and its sister scenes are supposed to be all about. “Order of Wolves” by thee Grey Wolves was remixed and sound especially incredible. The track that stands out more than the rest is “Denial as a Defense Mechanism” with its artful craft mixture of noise and vocals, stirring up chaos and decrying apathy all at once. Stunning, incredible, and a must-have for anyone who wants to think that they have heard it all.
Posts tagged industrial
Industrial super-gods Leaether Strip released “Coming Up for Air” to ready the world for its enigmatic and highly sought-after and anticipated follow-up soundtrack to a fictional film “Serenade for the Dead II” album set for release here soon in March 2013. The Danish industrial tag team of Claus and Kurt once again polish off another gem of electro-industrial magic. For fans of Spahn Ranch, :wumpscut:, and most anything off of Metropolis Records these days.
Daniel Euphrat is the mastermind behind the eclectic Timmy Sells His Soul outfit. Each song is so uniquely distinct and different from the last it’s like listening to a more pop version of Mr. Bungle though without the busy backdrop. Dripping wet with indie-pop incredibleness, “Name and Form” jumps from genre to genre but always boasting a terrific array of textures. His off-key vocals range from somewhat spoken yet muffled to melodic crooning. A huge array of electro influences are smashed up behind his voice. “Seeds” finds Rachel Springer Dunbar lending vocals amid a chaotic stew of IDM and melodic indie pop harmonies. “Knife and Bowl” evoke a kind of melancholy – something this album doesn’t seem to lack in – but with an industrial-pop edge ever so slightly creeping upwards. I couldn’t begin to tell you who he may be influenced by because so many things happen throughout the listen which is a good thing; I highly doubt it’s easy to pigeonhole someone like Timmy Sells His Soul. “Vicious” sounds like something you’d hear off of Metropolis Records while “We are Surplus” could be easily heard at your local coffeehouse with its low-key indie-pop flavors. Rangy and yet authoritative in what he’s trying to deliver and accomplish, “Name and Form (Black)” is a dark beauty but one that demands your utmost attention. Highly recommended.
Full disclosure – I really don’t know a whole lot about the power electronics or harsh noise wall scene. That said, I definitely can appreciate many of the artists that perform it or some variation. Japanese Torture Comedy Hour is one such outfit. Scott Hull of Pig Destroyer, Agoraphobic Nosebleed, Anal Cunt, and other metal offspring has been a member, but J. Randall is the mastermind behind “Dolphin Meat“. This hour-long distorted absurdity just crushed your cranium with harsh noises that were manipulated live with no computer(s), samples, guitars, or instruments just a bunch of crazy pedals chained together amid a fevered tenacity to blow one’s mind. The textures are dense for sure despite the lack of post-production editing and while it’s decidedly lo-fi in nature (recorded live onto VHS cassette). Looping effects pedals together in a feedback loop, J. Randall has crafted a simple sounding yet unorthodox concept into an unearthly creation that simultaneously stuns, eviscerates, and evokes raw emotive states. I can only imagine the melted brains in the live studio audience that got to witness this. Not for the weak willed or closed minded.
Trangendered artist famous for paintings for Psychic TV album releases and more recently for her self-released lo-fi albums, Val Denham collaborates with Black Sun Productions for this brooding and dank experimental electronic excursion. Beginning the album is a spoken word reading of Charles Dickens “A Tale of Two Cities” with a Coil-esque backdrop drone. No surprise on the Coil reference as Massimo and Pierce have their tight ties with Coil in the past. Sexual undertones perverse the soundtrack collapsing words into a separate entity that is both instrument and vision all at once. Industrialized rhythms dominate some of the tracks while the druggy green visions of “Absinthe” portend their influence with cooled keyboards and manipulated loops.
Another dark industrial EBM and dance album by one of best up-and-comers this past decade has seen in this genre, Suicide Commando. “Implements of Hell” smashes your skull against hard concrete drum loops, techno acid synths, and distorted vocals that could only be heralded by people who have a sinister desire of the dark gothic underworld. The album populates each banging beat with gyrating club-friendly melodies that while harsh are still undeniably catchy. To date Suicide Commando had yet to release such a compelling stroke of genius that was across the board fantastic but “Implements of Hell” does just that and much more raising the bar for everyone else in a very dominated EBM genre.
Remixes of KMFDM’s latest album released in 2009, “Blitz”; “Krieg” is a body-crushing dance nightmare with some of scene’s bravest and best innovators tapped to revision the music into something distinct and even more intriguing than the original track. The album opens with a bang with Combichrist’s “All 4 One Mix” of “Bait & Switch”, sounding like a rave held at an abandoned east European factory. Then “Strut” is rerubbed by Andy Selway whose “Disco Balls” mix is dirty and reminds one of Lords of Acid. Seismologist offers up a darkened “Potz Blitz!” that bleeds old school industrial dance. Prong grabs their distortion pedals and pounds on your eardrums with their rendition of “Bait & Switch”. Skinny Puppy contributor and engineer Dave “Rave” Ogilvie brokers his take on “Never Say Never” with a mix that’s surprisingly very Yo Gabba Gabba with its sun-soaked synths and pleasant melodies. Other notable contributors are Komor Kommando, Assemblage 23, tweaker, Koichi Fukuda, and Vile Evils (Pop Will Eat Itself).
Frigid synthetic unmelodies collide with industrial-sized caustic noise and abrasive metal clanks and clicks forge the audible nightmare that is “Soul Cleansing”. Sektor 304 is industrial in the vein of early era Einsturzende Neubauten, Godflesh, and Clock DVA (Jeffrey Dahmer’s favorite band). Noise and apocalypse never sounded so uninviting and yet so seductive. Atmospheric blends of soundscapes with percussion that hammers away at your eardrums, tantalizing your soul. If Sektor 304 sounds like a nightmare factory that’s because it is – this assembly line is one that builds the robots of the future that take over Earth and obliterate Mankind.
Mark Spybey is one of the biggest geniuses in the post-industrial music scene. His 11th album under the Dead Voices on Air moniker is yet another giant leap forward for mankind’s adventures in sound. “Fast Falls the Eventide” is a meticulous carving out of aural inspirations dotted with spectral soundscapes, huge rhythms, and masterful experimentations. The 2nd disc is actually a re-release of the long out of print 1994 cassette-only release “Abrader” that was launched on Japanese label G.R.O.S.S. The second disc also features two previously unreleased tracks collaborating with cEvin Key (Skinny Puppy, Download, Doubting Thomas) with Key’s interesting melting of a moog synthesizer and banging on a barrel drum with Mark’s odd backdrop of noise and musical alliteration. Spybey’s music has long been a personal inspiration for me, whether it was his forays with Download, the atmospheric intrigue of :Zoviet France:, or his collaboration with Robin Storey (Rapoon) in his side project Reformed Faction. Ranging from caustic missionaries of mania to nightmarish dream soundtracks or sparsely woven ambient tapestries, Spybey always seems to hit on all cylinders. Catchy it is not, absolutely essential it for sure is. The main disc of the release is a lengthy node of winded and sweeping synthesizers, aural ambience, manipulated samples, and nested noise. Truly a caricature of perfected post-industrial compositions, “Fast Falls the Eventide” may very well be one of the most interesting releases of 2009.
I hear a lot of influence from earlier Frontline Assembly within Drifting in Silence’s brand of EBM and industrial dance and that’s a damn good thing. The title track and its three-included remixes makes this EP well worthy of a purchase. Monumental riffage, hard-edged beats, and sweeping synth overloads the senses making “Facewithin” a trademarked sound that no doubt will encourage a lot of repeat listens and copycats. To the copycats I have two words to say: “Good luck”.