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Berlin Industrial Noise act Operant announce ‘Harnessed To Flesh’ EP


Fresh off of their ‘Sibling Lovers’ tour with Kollaps, Berlin industrial noise act OPERANT have announced their upcoming ‘Harnessed To Flesh’ EP due out on local imprint Instruments of Discipline February 12th, 2018.

The intimate five track ep was written by August Skipper and IOD label owner Luna Vassarotti with additional mixing and production by Joey Blush of Blush Response, encapsulates Operant’s live performance which melds power-electronics, industrial techno, and dark ambience.

OPERANT LIVE

The new EP is an evolution in soundscapes and textures, that through it’s chaos has strong narrative cohesion evokes a sonic euphoria though several planes of techno, industrial, and noise with abstract and emotive uses of metals, vocals, samples, synths, contact mics, and more beautifully unnerving constructs of sound.

Watch the preview for the EP below

 

 



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Industrial music progenitor Z’EV has passed away


We are sad to learn that groundbreaking pioneer of Industrial music, percussionist, and poet Stefan Joel Weisser aka Z’EV has passed away.

Z’EV had famously opened for Bauhaus along with Tuxedomoon during the Godfathers of goth’s first headlining tour, and was heavily influential on industrial music acts such as Test Dept and Einstürzende Neubauten, being one of the first to experiment with sounds from found objects and handmade instruments.

Z’EV had been ill recently, and had taken to crowdfunding to raise money for his medical treatments. sadly however, his death has now been reported on various musician friends and colleagues social media pages.

“Just received word that long time friend Z’EV just died. Cause uncertain at this time, but he had spitting up blood recently. He spent last winter in our guest bedroom pursuant to the train derailment he was airlifted from, because his doctor told him he met get not survive a winter in Chicago. And the man we met at Denver international airport was a shadow of the person I’ve known for over four decades. His spirit was still tough as nails but physically he seemed devastated and had difficulty ascending the stairs to his room. Three and a half months later much of his strength seemed restored; he had survived the winter and the outlook seemed good. We had recently heard from him that he was doing some shows in Mexico and was going to spend this winter in Santa Fe. I’d assumed that even if he would never be 100% again he was at least back on his game. I had convinced him to release a box set of recordings through a German company that would chronicle his entire career and that I would write the perfect liner notes for it. I would say that Z’EV was to the avant garde what Iggy Pop was to rock and roll: total intensity, energy and raw power and he often left the stage in the early eighties cut up and bleeding from the injuries he received from his own instruments. I’d made extensive notes for my text and look forward to promoting the life and career of a man I thought was one of the most under appreciated figures in modern music. A linguist, an ethnic musicologist, a scholar, a mystic; but a man who could distil all this into a performance so intense that it could captivate an audience in a punk rock venue. That was his unique gift. He was one of the most talented people I have ever met. And there has never been any performer akin to him.”Boyd Rice

Z’EV is featured in the recent documentary Industrial Soundtrack For The Urban Decay along with Throbbing Gristle, Cabaret Voltaire, SPK, Test Dept, NON and more.



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Leæther Strip cover Coil’s ‘The Anal Staircase’


Legendary Gothic-industrial project Leæther Strip, the brainchild of Danish musician Claus Larsen has had a prolific output for nearly 3 decades.

After recently performing a fantastic sold out gig in Berlin for the infamous DEATH#DISCO night hosted by Ian P. Christ and Aufnahme + Wiedergabe’s Philipp Strobel. Claus is releasing making his next release.

Not one to shy away from collaborations or covers, Claus is issuing another ÆPPRECIATION collection in continuing their homage to his influences with new versions of songs by Fad Gadget, Adam & The Ants, Soft Cell, Dead Or Alive, Coil and more!

Listen and watch the video to Leæther Strip’s fantastic cover of Coil’s The Anal Staircase, culled from their fantastic “Horse Rotorvator” LP, and featured on Claus’ ÆPPRECIATION II collection.

Order Here

Track List:

  1. Lady Shave
  2. Beat My Guest
  3. Tainted Love
  4. Man In The Man
  5. You Spin Me Round (Like A Record)
  6. Holidays In the Sun
  7. Heat
  8. View From A Bridge
  9. Broken English
  10. Anal Staircase

 



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Industrial-Punk duo Haunted Horses share their surreal animated collage for the track ‘Into’


Haunted Horses is an industrial-punk duo project hailing from Seattle, Washington. Their music is thunderous and bizarre experimental sound courtesy of the talents of the duo of Colin Dawson, and Myke Pelly, who conjure up a cascade of noise through the onslaught of guitars and drums.

In support of their new EP “Come” , Haunted Horses have shared the surreal collage of animation that comprises the short promotional video for the track “Into”.

Watch it below:

“Come” out now on Cercle Social Records.

Order the EP Here



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Unhuman premieres ‘Absurdity, Privilege Of Men’ | Liber Null & Potnia Theron’s Absolute’ featuring Drew McDowall of Coil


Berlin-based electronic artist Unhuman is premiering today his latest track Absurdity, Privilege Of Men, a disconcerting cacophony of noise accentuated by the graphic cover art on the EP containing the track—Devour Wrath Without Shame—which depicts a visceral demonstration of castration that is indeed not for the faint of heart.

Here is the official description of the EP courtesy of the label Instruments of Discipline:

Devour Wrath Without Shame sees Unhuman return to his original vision of dystopic noise, a pure, uncut vision of our darkest times, alive nightmares, everything we despise, unwanted and disconcerting, the rotting core of a concrete dimension.”

The song’s premiere heralds an Unhuman dj gig at Berlin Electronic music event Liber Null and 
Potnia Theron’s  Absolute on Thursday, November 16th, featuring Drew McDowall, Alessandro Adriani, Sekunde, and Nullam Rem Natam.

See Full details below. 

‘Absolute’


Thursday 16th of November 2017 at Arena Club
One year after their first amalgamation – Liber Null and Potnia Theron have a very special reason
to merge their powers again and present a thrilling event.

Line up:

  • Drew McDowall | live | COIL / Psychic TV I
  • Alessandro Adriani I Mannequin (Label + Mailorder) / Jealous God |
  • Unhuman B2B Sekunde I Liber Null Berlin – Fleisch I
  • Nullam Rem Natam – Action

With great honor Liber Null invites Drew McDowall for a live performance as part of his current european tour. Presenting his new album by building his hypnotising sounds, he will guide the audience
through his mystical and esoteric journey reflecting shades of the past.
A great impact and huge influence as part of CoilDrew McDowall will leave his mark in history of Liber Null.

Time to worship.

Alessandro Adriani, owner of Mannequin Records, will open the night with a special experimental set focused between memories and obsessions.

Unhuman – resident and founder of Liber Null together with Sekunde from Fleisch are on closing duties, uniting their darkest sounds. Nullam Rem Natam in search of spirals and serpents, will create and destroy their exegesis of absolute truth.

Drew McDowall

During the tumultuous 1980’s, Drew McDowall found himself in the ranks of Genesis P-Orridge’s Psychic TV collective and collaborating with the arcane occult duo comprised of former Throbbing Gristle creator Peter ‘Sleazy’ Christopherson and the enigmatic John Balance who had been creating esoteric and progressive electronic music under the banner of Coil. It was during these formative collaborations with Coil that McDowall saw himself shift from occasional contributor to austere full-time member. McDowall’s impact on the band’s sound was immediate, and apparent, as the releases transformed from their previous avant-pop signature to a more complex and methodic electronic imprint accompanied by even more abstruse subject matter and abstract formulations than previous years. McDowell was instrumental in the creation of Time Machines, one of the most influential drone works of the last 20 years and would continue honing his compositional skills with Coil until the bands two most lauded albums, “Astral Disaster” and “Music to Play in the Dark” at which point he left the project and his native home to relocate to the United States.

For the last 17 years Drew McDowall has lived in New York City and found a welcoming home in the city’s experimental music community. In 2011, alongside his friend and collaborator, Tres Warren (Psychic Ills), McDowall found himself exploring his passion for meditative drone and abstract sound patterns in their project Compound Eye. He has collaborated with Croatian Amor, Varg, Puce Mary, Marshstepper and many others. Outside of his collaborative duties, McDowall formed an audience as a solo artist, playing countless performances and showcases around New York’s electronic music venues and festivals.

Drew McDowall released his debut solo album entitled “Collapse” on Dais Records in September 2015 and has subsequently toured the United States and Europe.

With Unnatural Channel, released on Dais Records in May 2017, using his signature ambient ebb and flow coupled with patterns of fibrous metallic waveforms and reverberated percussions that have been pulled and spun around the spectrum he continues to dissect subterranean themes and explore how to comprehend and subsequently engage with the contemporary world that emerges from the disintegration of various mental, physical, and emotional terrain.

Unhuman b2b Sekunde

Unhuman was founded as a noise project in 2012 in Athens with the release of his first tape, entitled Emperor Black on Species Productions and then a split tape with To The Lovers Farewell on Red Venice Records. Delving deeper into radical noise, experimental and industrial music, a whole new world of possibilities opened up to him when he moved to Berlin in 2012. After founding the Lärm-Alarm-Lärm festival, he combined the idea of underground music and more experiential events going onto organize workshops which encompassed experimental & interactive audio/visual performances in a project space called Shift which led to his current project Liber Null Berlin which unifies the freedom of arts in a conceptual event and a record label. With his DJ-project he has performed alongside renowned artists such as Ascion, D Carbone, Eschaton, James Ruskin, Luke Slater, Makaton, Substance aka Dj Pete, Tomohiko Sagae, Truss, Ugandan Methods, Violet Poison. At the moment, Unhuman tours in venues all around Europe and Asia and is a regular act in many of the major Berlin clubs. He was resident Dj in the city of Paris for two years and now days he is resident artist at Constant Value Seoul. He released on labels such as Veleno Viola, Monolith Records, Amok Tapes and Instruments Of Discipline.

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Sekunde is a project, based in Berlin, that has been part of the Fleisch collective since its inception.

Playing a mix of Industrial, EBM, post-punk, and synth wave, he blends these genres together seamlessly into his own world suited for dark basements and strobe light funerals.

Alessandro Adriani

Born and raised in Roma, Italy and now living in Berlin, Alessandro Adriani is the brain behind Mannequin Records, an outlet that since 2008 has done arguably more than any other to unearth obscure synth wave and industrial music from all over the world. Aside from his work in releasing forgotten gems and up to the minute synth incantations, Alessandro Adriani has also been quietly issuing out his own music for labels like Mannequin, Pinkman and Jealous God. Previously active as Newclear Waves, he developed lately an interest for remixes/edits, including “the rarest disco fruit from the Caribbean-via-Berlin: Mannequin Records’ Alessandro Adriani rolls up a smoking edit of Lata Ramasar’s exulting/exulted proto-house bubbler The Greatest Name That Lives.”

Alessandro is the resident dj and organizer of the bi-monthly Mannequin Records Nacht at Säule/Berghain.

Nullam Rem Natam

No thing born. An emphatic idiom for nothing.

 



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Nine Inch Nails | Pretty Hate Machine


On October 20th, 1989 Nine Inch Nails released their iconic debut LP Pretty Hate Machine. The album’s demo was a labor of love produced and recorded in between shifts while singer songwriter Trent Reznor was working nights as a custodian at the Right Track Studio in Cleveland, Ohio.

Reznor would then eventually sign to TVT records, self recording the album with the aid of legendary producers Flood, Keith LeBlanc, Adrian Sherwood, and John Fryer.

Have you seen these boys?

For the album’s tour, Reznor quickly formed a band with guitarist Richard Patrick, the brother of actor Robert Patrick, who would later go on to front Filter. During an interview with The Nerdist Podcast, Robert Patrick revealed that he was pitching the music from Pretty Hate Machine for the soundtrack for Terminator 2: Judgment Day to Director James Cameron, but was overruled by Arnold Schwarzenegger.

While touring North America in support of Pretty Hate Machine, Nine Inch Nails as an opening act for Post-Punk heroes such as Peter Murphy and The Jesus and Mary Chain.

The album has 3 hit singles:

Down In It

Head Like A Hole

Sin

Nine Inch Nails: Sin (Uncensored) (NSFW) (1990) from Nine Inch Nails on Vimeo.

Tracklisting:

  1. Head Like a Hole
  2. Terrible Lie
  3. Down in It
  4. Sanctified
  5. Something I Can Never Have
  6. Kinda I Want To
  7. Sin
  8. That’s What I Get
  9. The Only Time
  10. Ringfinger



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Listen to the melodic Post-Industrial sidestep that is Street Sects’ ‘Rat Jacket’ EP


“We all have a price tag, we all sell each other out.”

Street Sectsa duo comprised of multi-instrumentalist Shaun Ringsmuth and vocalist Leo Ashline are streaming with us today their new EP Rat Jacket—a tangential sidestep to their sideswiping Post-Industrial Hardcore debut LP End Position. 

Photo by Todd Pendu

The pair hailing from Austin have—despite maintaining their sample based sound—made a more Post-Punk sounding record that combines industrial textures and post-punk guitars into a synth-punk chimera that transcends the traditional sounds of both genres.

The record’s harsh electronics are tempered through its melodic compositions that cathartically convey the themes of loyalty, trust, betrayal, and paranoia—leaving behind the kind of sadness and regret you would expect to find circling a drain below a cracked bathroom mirror. 

Rat Jacket is out October 6th via The Flenser.

Listen to the full EP below:

Pre-order here

STREET SECTS — ON TOUR:

September 27  Omaha, NE @ Milk Run
September 28  Lincoln, NE @ Lincoln Calling Festival
September 29  Kansas City, MO @ TBA
September 30  St. Louis, MO @ Way Out Club
October 1  Lexington, KY @ Cosmic Charlies
October 2  Richmond, VA @ Strange Matter *
October 3  Fayetteville, NC @ Drunk Horse *
October 4  Atlanta, GA @ Masquerade *
October 5  New Orleans, LA @ Poor Boys *
October 6  Dallas, TX @ Curtain Club *
October 7  Houston, TX @ Walter’s *
October 8  Austin, TX @ Lost Well *
October 10  Albuquerque, NM @ Launchpad *
October 11  Tempe, AZ @ The Underground *
October 12  Las Vegas, NV @ Beauty Bar *
October 13  Los Angeles, CA @ The Resident *
October 14  San Diego, CA @ Soda Bar *
October 15  San Francisco, CA @ Bottom of the Hill *
October 17  Denver, CO @ Marquis *
October 18  Des Moines, IA @ Vaudeville Mews *
October 19  Chicago, IL @ Beat Kitchen *
October 20  Cincinnati, OH @ Northside Yacht Club *
October 21  Cleveland, OH @ Locker Room at Mahall’s *
October 23  Toronto, ON @ Hard Luck *
October 24  Syracuse, NY @ Sparks Art Space *
October 25  Boston, MA @ Once Ballroom *
October 26  Brooklyn, NY @ Knitting Factory *
October 28  Norfolk, VA @ Charlie’s American Cafe
October 29  Asheville, NV @ Static Age Records
* w/ Dälek

 



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Riot Fest 2017 Festival Review: From Worst to Best


“No one here released an essential album this year,” said one of my colleagues as we baked in the scorching sunbeams skating across this year’s Riot Fest, waiting for the third, fifth, or eighth act of the day to take the stage. He wasn’t criticizing the year’s booking, really, just making a point. And it’s a good point, and also one that’s key to unlocking what makes Riot Fest so special.

As other festivals hemorrhage money, fail entirely, or find themselves the subject of think pieces portending the bursting of that oh-so-fragile festival bubble, why has Riot Fest remained both relevant and successful? When the festival movement is more or less headed towards curated “conferences” that pair live music with thought leaders, innovation panels, and branded experiences, why has Riot Fest scaled back its extracurriculars? In 2013, the festival’s carnival attractions snaked through every corner of the fest, while speaking panels and live wrestling offered copious distractions from the music on display. Now, the rides are cordoned off to their own area of Douglas Park, and the non-musical experiences include the long-running freak show and a few other carnival acts. Riot Fest grew, then contracted. And it’s all the better for it.

See, “curation” is the real buzzword in the festival world now. Any festival that isn’t already one of the major players needs to know that the proliferation of music festivals means that a smattering of popular bands won’t cut it anymore, especially not when bands are doing “the festival circuit,” essentially making every festival’s look the same. What this means is that, for many burgeoning music festivals, the music itself is simply a gateway to the real experience being offered.

But Riot Fest is different, because music’s always been its most important component. Where most festivals book by algorithm, Riot Fest curates. They don’t book popular bands, they book your favorite bands. They don’t book bands for their singles; they book bands for their albums. These audiences aren’t here for one song, they’re here for the whole set.

And that was more clear this year than perhaps any other. Here we get a nasty, subversive set from electroclash queen Peaches and a showcase for Mike Patton’s new band and reverent crowds for outfits like Ministry, GWAR, and Pennywise, bands that remain somebody’s sanctuary despite the mainstream music community’s complete disinterest. Hell, Riot Fest closed out this year with a headlining set from a mostly forgotten, yet wildly influential, punk band from the early ‘90s. Find one other festival that would do that. I’ll wait.

Okay, I won’t. Riot Fest isn’t all brass balls. Crust punks and Leftover Crack shirts clash with the Hot Topic cognoscenti, and the appearance of these Deluxe VIP “cabanas” doesn’t bode well, but for now it still feels as if we’re all united by a general sense of sarcastic sleaze. That, and that there’s not one person here who isn’t excited at the prospect of seeing at least one band. That may seem like a low bar to hit for a music festival, but the industry is changing. The world is getting smaller. As it does so, we burrow into our niches.

And Riot Fest, well, it’s just filled with niches.

–Randall Colburn
Senior Writer

_________________________________________________________



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TEMPLƎR | Video premiere of ‘IN MEMORIAM’


The track “In Memoriam”, by Berlin-based artist Templǝr, is the second to come off the Human Hate EP that was released earlier this year on the X-IMG label. Under his alias, the Toulouse born Thomas Chalandon creates thunderous, forceful rhythms not unlike noise legends Esplendor Geometrico and Sonar. It is not the stuff of casual listening—it is music for the dregs of the night.

“In Memoriam” is grinding industrial techno in its repetition and tempo, hefty and sluggish in its attack but undoubtedly danceable (as the video aptly suggests). There are few new acts that can contend with Templǝr’s crushing impact of noise manipulation and his recent DJ appearance at Tresor’s ‘New Faces’ party proves just the same.

Listen to Human Hate in its entirety below.




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Listen to the Industrial Shoegaze of Montreal’s Security


Montreal’s Security are a hauntingly atmospheric Industrial, Shoegaze, and Experimental music duo featuring Anna (vocals, guitar) and Elie (bass, programming). They used to be the briefly lived Dernier Sex, which was an amazing project in itself, albeit short lived.

Security’s debut on vinyl, Arid Land is out now, and the music is more abrasive that Dernier Sex, with Security’s harsh industrial soundscapes on par with early Swans or SPK , but with aural reality based upon some sort of dream logic.

Watch the video for Position—the first track off of the 12 inch EP  above.

Security have just performed at Nothing Changes in NYC along with Void Vision, and are heading over to Philadelphia tonight for a gig at Kung Fu Necktie.

 

 

 



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