Electronics / EBM / Electronica
Industrial Music / Industrial Metal / Aggro Industrial / Electro Metal
Industrial Noise / Power Noise / Harsh Noise
Synth Pop / Electro Pop / Synth-Electronica
Techno / Trance / Goa / Drum'n'Bass / Jungle / Tribal / Trip-Hop
Ambient / Electronica / Ethereal / Dub / Soundscapes / Abstract
Experimental / Avantgarde / Weird & Wired / Odd / Field Recording
Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
Jan 23 2012
Here we are with a new Elijah Collins single, who after the latest single "J Funk", is back, always with Tee-J on vocals, with a new two tracks single titled YOU ARE A ****. The main track is a funky soul dance hit with blasting snare drums, nice trumpets and catchy vocals. B side is titled "I Used to Feel Alright", a funky tune based on bouncing bass lines and vocals that mix 80s US and London atmospheres (it's nice how the crowd samples are used as they recall the bands' street battles). It also reminds me a bit of Donald Fagen. Do you remember his hit "New Frontier"? Musically Elijah Collins is more dancey but somewhat I feel that a bit of that soul atmospheres are here into this nice single.
Jan 23 2012
After a demo, an Ep, and the "Folk'n'roll" series, the hellenic band is back on the track, 7 years after their formation. A nice digipack Cd with booklet limited to 500 handnumbered copies, collectors will be pleased. As for the content, I've seen them labeled as neo-folk and I've read about an alleged Current 93 influence. I find "folk-noir" a very suitable description though, and the C93 influence not that sharp anyway, simply because C93 are not the Ramones or Motorhead, it's something always "moving", while Mani Deum seem a bit stuck in some of the stereotypes you would expect. I mean, I don't expect a band like that using hip-hop loops and singing about the life in the Smurfs village, but if "folk-noir" gives you a clue and you might think about the usual love/blood/death bohemia themes, well, I guess you're right. I'm not that picky, a wise use of stereotypes can be entertaining at least, if not even meaningful, but Mani Deum it's like a pale reflex of some C93 (yeah, why not?), some Nick Cave, even some Paul Roland with very worn lyrical themes and plain form. I've appreciated some songs, like "Nemesis", after 3 listenings it got stuck in my mind, but nothing I'd kill for, also because of the support of some vocals that are nothing more than honest while they would be supposed to be the "selling point". Yes, definitely a "honest" band, but if you need to go further, well, they need too...
Even if Minusheart are not newcomers, The Big Idea could be considered a sort of debut album due to the big changes of the line up and those listeners who already heard some of their past releases, in particular their most famous one id est their real debut (on Echozone as well), Disease - including their most known song "Don't Feed The Cats" -, will easily recognize stylistical mutation of this German band: even if it's not a chocolate snack cake, the recipe which has been added in the filler has been sugared by Vary, the new guitarist of the band led by Diver and his coarse riffs, so that Minusheart's sound seems to tack towards industrial rock in spite of its terse and schematic EBM mainstay, being such a thinness a defect together with a certain monochromatism of Diver's voice according to some listener, ignoring that redundance is not proper to the genre. Such a revolution in the line-up brought many good ideas in the oven (I particularly appreciated more melodious songs such as "Morphine Waltz", one of the best song of this album, and some interesting rollers such as "Ride On Your Colours" and the initial "Inglorious Bang"), even if most of the songs cannot be acclaimed as masterpieces, and the lyrical aspect appears renewed and more interesting as well even when Minusheart's most ironic vein pulses stronger such as in Drawback and Don't Call It Love, where Diver enumerates some notorious pornstars' names, but there're also some moles in the tracklist due to their foreseeable structure such as Solitaire, Book Of Love or Peak Of Pleasure. I may be wrong, but The Big Idea looks like the typical transitional work before an attempt of diving in the mainstream. We'll see or better we'll listen.
Jan 19 2012
The newborn Milan-based Italian label Beat.Machine makes its first appearance in the overcrowded music scene with a musical brotherhood with the provoking alternative punk rock Italian band The NUV, acronym for New Ultraviolet Vanish, an expression which can summarize their ruffled plunging down a sonic slope influenced by recent evolutions of punkey bands, rewording New Ultra Violence (their previous baptismal name as well), a term used by their main conceptual source of inspiration, Anthony Burgess, author of the notorious "A Clockwork Orange" to describe brutal violent acts committed just for entertainment. Their release on Block Starz Music could strike some ears for the way they contaminate punk rock with glamour sonic hooks, lending itself to further treatment and it's what Beat.Machine made, a way to introduce some slices of its roster. To be honest, most of them look like they stick to some standards, in particular remixes by I Am Orkid and Boylerz sound quite influenced by some electro-industrial bands (Nine Inch Nails, Skinny Puppy, FLA) as well as the so-called nu disco proposed by Brioski in the attempt of refurbishing the track "Ultraviolence" sounds not so "nu". On the other side other remixers are far more interesting in flirtation/filtration of some NUV's songs such as M.E.S.P. who proposes a bizarre intertwining of dubstep and electro-rock shreds (both "Jennifer" and "Nobel" remixes are really nice), AC Prodz' versatility in reinterpreting "Lucha Libre" and "The Virgin" in a plain electronic way and The Honor's toytronic remix of "Nobel". Maybe it's better to wait some individual releases in order to have a clearer idea on the real stylistical range and quality of musical proposals by this new label, but this debut sounds tasty enough to sketch a rough idea on them.
Jan 18 2012
Neurobit is an improvisation project by Bas Welling. He already released stuff on Retinascan, R.O.N.F. Records and Enfant Terrible. The sound is based on minimal suites made using 8bit sounds. Sounding at times a bit experimental or ambient, Neurobit will release on February for Enfant Terrible a tape titled THE WAR OF THE WORLDS. Originally, "The War of the Worlds" was an episode of the American radio drama anthology series, Mercury Theatre on the Air, broadcasted on the October 30, 1938 and directed and narrated by Orson Welles. The effect that this broadcast had on people is history, because it caused panic on the audience. On the 6th of April 2003 Bas Welling (then called himself Dj Rioteer) recorded his version of this radio drama on a local Dutch pirate radio. Some tapes were produced and distributed but it was a sort of memory of a performance. Enfant Terrible decided it was time to make it available again, so the next month you'll be able to purchase one of the 100 copies (11 have a Space Invader art object). Musically, you'll find the original recordings of the 1938 broadcast with a sort of experimental improvised soundtrack performed by Neurobit. Analog noises, tiny melodies, bleeps and low-fi electronic effects are the sounds added and even if they aren't catchy per se, the whole project is interesting.