Rock and Roll Fables Presents: Top 16 of ’16 (AKA: Why Do I Do This To Myself Every Year?)

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It’s the most wonderful time of the year! A time of reflection, a time of remembrance, and a time of scrolling through my Itunes to see what was released, and most importantly, what got the most repeated listens in 2016. So here goes…somethin’: [Read more…]

Youth Code Deliver Beyond Epic Sophomore Album With Commitment to Complications

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In jumping back into the writing saddle this week and seeing Youth Code for the first time live since Eye Vs Spy recently, I realized I neglected to review their latest masterpiece (Which also happened to be on our “Top 16 for ’16” list). Here’s the reason: some records come out and I enjoy them so much that honestly, I forget to review them because whatever I type won’t do the product justice. [Read more…]

Delerium Return With Ethereal And Uplifting Mythologie

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It’s been many years since Delerium has graced our earholes and if ever there was a time of stagnant droll which necessitated the duo of Bill Leeb and Rhys Fulber to return it would certainly be now. That’s right, Fulber and Leeb are at the helm with a veritable cornucopia of artists ready to diversify and spread the Delerium message. [Read more…]

Youth Code Preview Upcoming Sophomore Outing With New Single “Anagnorisis”

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Like most other blogs, sites, what have you…at the end of the year I compose a list of not only what was great about the year but also what I think is worth checking out in the next year. [Read more…]

Pig Returns! Primitive Race Rises! Long In The Tooth EP Set For June Release!

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After all the hype and all the build up, being able to FINALLY talk about a “proper” release from Primitive Race is an amazing thing. Mastermind Chris Kniker has concocted this masterpiece of an EP that’s old school industrial yet firmly planted in today. Long In The Tooth is the name of the EP and the title track and it is ten tracks of perfectly executed electronic madness serenely sung by the one and only Raymond Watts. [Read more…]

Rock And Roll Fables Best/Worst Of 2014: Editor’s Picks

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Ah, fuck it! I was all poised to do another “Top 14 of 14” music list and then Bostonregina inspired me yet again to do a post like hers from last year (And hopefully this year, bb????) Anywho, without further adieu, here’s the RNRF Editor’s pick for 2014:

Best Album: The Faint-Doom Abuse

2014 was the year that electronics totally owned me or I totally gave myself up to electronic music. I’m still not sure yet. Either way, whether it was new discoveries like Mr. Kitty or Trust or Skinny Puppy ruling the live scene, electronic music simply owned my life this year. One of my favorite electronic bands also happened to drop a bombshell of an album this year seemingly out of nowhere. The Faint quietly reconvened in 2012 for the Danse Macabre tour and an EP of all new music and then…nothing. That nothing turned out to be this year’s Doom Abuse which was released in April. Taking the best parts of all of their previous albums and infusing their sound with an urgency not heard in some time, The Faint is more alive now then ever before. For our review, head on over here. [Read more…]

LizZard just might be the best band you’re not listening to in 2014

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If you’re checking out LiZzard solely on the strength of “The Roots Within” (Which I did) then you’re in for a treat. On their latest, Majestic, LizZard tap into the best aspects of Tool, Chevelle (a la Wonder What’s Next), and combine it with elements of grunge to create a sound that’s a little bit familiar but still a whole lotta new. [Read more…]

“You never forget your first time…” (It’s our 1st anniversary! 11/6/14)

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A year already? Almost 6,000 page views (Where you at Facebook and Twitter?!?!?) and 150 posts mostly done by my lonesome from a site born out of creative frustration based off the opening line from Streets Of Fire. I’d say that’s an accomplishment, wouldn’t you? In that time we’ve started some semi-regular columns (“Jokes!”, “Untitled Metal Column”, “What’s In A Name?”), reviewed quite a bunch of records and talked to some fantastic artists. [Read more…]

Rhys Fulber: A Rock And Roll Fables Conversation

“I just do what I do”

That’s what Rhys Fulber has to say when pressed about whether or not being on a specific label (Armada at the moment for his main musical outlet, Conjure One) influences his musical output. Who is Rhys Fulber, you ask? If you’re a fan of industrial music, metal, ambient electronica and even Pop then chances are you might’ve heard some of producer/mixer/programmer extraordinaire Rhys Fulber’s work over the last 20 or so years.

He’s worked with everyone from Fear Factory to Josh Groban and been a part of outfits ranging from the industrial noiseniks of Front Line Assembly to the ethereal dream makers of Delerium (Also featuring FLA’s Bill Leeb) and previously mentioned Conjure One. But how does a person a person go from “Pisschrist” to “Silence” with Sarah Mclachlan?

“It’s almost always a case of someone approaching you, so it’s really just deciding if you can listen to that music non-stop for a few months. I like to try things outside my comfort zone too, so sometimes the more different, the more exciting.  I did a jazz record in Canada a few years back for instance and that was a great experience.”

As for dream projects, Fulber continues: “I don’t really dream of working with anyone in particular because who is to say the feeling would be mutual!  So other than my childhood hero Pete Shelley,  I will stick to the more tangible, and say Devin Townsend, because we’ve dabbled with some stuff before and it seemed like we were onto something.”

He goes on to describe what the differences are in collaborating with different artists from Bill Leeb to Armin Van Buuren: “Working with those guys is again similar to my role as producer, but being more involved in the songwriting, and helping them get their ideas across. If I was to choose a collaborator myself, I’d go for someone who does something I don’t.  Like a great singer or a good player, guitarist or whatever other instrument.”

“As for producing, it’s really dependent on each artist or band and what they are trying to achieve.  With the heavy stuff it’s usually providing textural keyboards and programming but I’ve also done singer/songwriter type music where the programming gets all stripped away in favor of live players.  I find that when producing you spend most of the record working on vocals and finding the best arrangements for the songs.  So though I’m known for being a programmer, I’d say most of my time goes into the vocal production.”

And just because the man has surrounded himself with a number of prolific industrial artists, don’t expect his Ipod to be filled with tunes of the genre: “Other than the underrated Daniel Myer (Haujobb, Architect), not really.  I kind of checked out after the ‘glory years’ and already by 1992 I was following what became IDM and dance music, then more rock and metal.  Once in a while I will check some stuff out but mostly its either 1999 trance with distorted bro or Depeche vibes or its using the Ministry of 242 puppy-ebbs recipe, none of which interest me.  I think the spirit of what was once industrial music (like the original early ’80’s stuff) lives on more with proto dubstep artists like Burial or artists like Squarepusher.”

Through the producing, mixing, programming, and performing there have obviously been a number of career highs up until now and Fulber was gracious enough to share some of them: “I’m lucky enough to have had several, but if I have to pick two it would be having an actual global hit single with Delerium and Sarah McLachlan, which was both exciting, and surreal (and elusive!), then working with David Foster on Josh Groban because it seems about as far from my industrial beginnings as humanly possible.”

But Fulber’s career is far from over with a number of new projects on the horizon, some hitting sooner than others: “I’m almost finished mixing The Dreaming’s new record.  It’s a logical extension of what they did as Stabbing Westward, albeit more modernized, with lots of hooks and very strong vocal performances. It’s been fun to work on, and I got to add some analog synths as well.  After that its some of the usual suspects: new Delerium, Fear Factory’s next album and I’m almost wrapped the next Conjure One album, which is my main personal outlet now.  As if that’s not enough, there’s some other things running in the background that I don’t want to speak of until they solidify more.”

 

Front Line Assembly rules all, releases remix album ECHOES!

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Let it be known that I do not like remix albums. At all. Of my favorite artists to do so, there’s only a handful that I find tolerable (Nine Inch Nails’ Y34RZ3R0R3M1X3D, Death From Above 1979’s Romance Bloody Romance: Remixes & B-Sides immediately come to mind). I guess I just tend to like the originals more and I’m usually just impatient waiting for another studio album. That said, with a remix artist roster like the one Front Line Assembly has but together for ECHOES, the remix companion to last year’s ECHOGENETIC, my skepticism has been quelled because this is a remix album that’s actually worth a damn.

It doesn’t get much better than this line up: Former FLA-er Rhys Fulber, upstarts Youth Code, Cyanotic, tweaker, and the indomitable force that is Primitive Race are just a few of the artists reinterpreting songs from Bill Leeb, Jeremy Inkel, and Jared Slingerland’s latest opus.

Doing a track-by-track would be a disservice to ECHOES as the the album needs to be experienced as a whole but I will say that it really hits the sweet spot and kicks into high gear when Blush Response’s (Joey Blush of Scar The Martyr) version of “Echogenetic” strikes. Then you get Henrik Blackstrom’s “Exhale”, HECQ’s “Prototyp”, Slighter’s “Leveled”…what I’m saying is, listen to it! It’s epic and undeniably Front Line Assembly at the core.

Did I mention that ECHOES also features two BRAND NEW SONGS? Well, it does! Co-written by Sneaker Pimps’ (Gone, but not forgotten!) Ian Pickering, “Contagion” which opens the album is the result if Delerium and FLA were to make an album together (And yes, I know what the connection is there) while “Next War” is a heavy dance track more in tone with last year’s ECHOGENETIC without the dubstep.

You can get all this and more if you shell out for the digital version of ECHOES on Itunes which features 4 bonus tracks or go with the standard edition which is also available now through Metropolis Records.