Thirty freaking years of the Ultra Heavy Beat. Think about this people. Thirty. Freaking. Years. Through numerous line up changes, band dissolutions, reformations, and finally coming up with a proper “band”, KMFDM have endured and celebrate such a momentous occasion the only way they can by not dwelling on the past but by instead looking to the future with a brand spankin’ new collection of Ultra Heavy Beats. [Read more…]
The return of grimy, sleazy, good old fashioned industrial electronic noise rawk is upon us, my friends. Cocksure started it with their debut in August (You can read all about TVMALSV here) and now Prude is here to continue to give it to ya good. Featuring members of Chemlab, Caustic, and Plastic Heroes, Prude’s unique brand of noise is anything but what their name implies. On the dark age of consent these industrial electronics pros delve deep to create some tunes destined to penetrate your psyche and unleash your id.
“PLUSism” is not so much an opener as it is a statement of intent curated by Prude ringmaster Jason Louche who delivers a downright sinister spoken word welcome to the dark age of consent. But don’t expect this trend to continue throughout because “great eraser (in the sky)” which follows is almost a Pop song. Think T-Rex meets The Stooges with these huge guitar riffs made for a stadium and propulsive drum beats. “darkroom.”, however, gets back to the nitty gritty of industrial noise with synths flowing but still featuring those epic guitar lines adding a little Andy Taylor Duran Duran flair to the mix.
Meanwhile, “airlock.” turns the album in a completely different direction with a slow, dark, ominous drone and Louche’s sneer propelling the album to Portrait of an American Family/Nothing Records territory. “brief history of fire.” injects a little PWEI dance flavor into the mix while “scatterbrain.” ramps up the big riffs.
In a nutshell, Prude’s stunning debut might best be summed up by the timeless words of Metropolis Records label mate Kap’n K: “In the age of super-boredom, hype and mediocrity. Celebrate relentlessness, menace to society.” Menace away, Prude. We’re ready for it.
the dark age of consent is out on September 23rd. Get yours from the indomitable Metropolis Records here.
Fans of Chris Connelly are in for a treat in 2014 as the eclectic vocalist returns to industrial in a huge way with not one, but two projects being released. There’s Bells Into Machines which sees Connelly partner up with his former Ministry co-hort Paul Barker and the RevCo-inspired slab of awesome that we’re talking about here: Cocksure!
Teaming with Acumen Nation’s Jason Novak, Cocksure’s debut full-length is a rollicking throwback with a firm foot placed firmly in the now. Were you a fan of early Revolting Cocks or the Connelly-era of Ministry in the early to mid-’90’s? Then you better not miss this one.
“Skeemy Gates” comes out swinging and easily lays waste to most industrial music out there today. Connelly, as always, is in fine form with a range that goes from Bowie-esque croons to “Cannibal Song” shrieks of madness instantly. “Alpha Male Bling” distorts Connelly on top of swirling, hypnotic Novak electronics while “Guilt, Speed, & Carbon” is almost The Damage Manual “Take Two” with its’ Geordie-like guitar line looped throughout.
If you’re craving some raunch, go no further than “Cock Ripped To The Giddy Tits” which has some hints of NIhil-era KMFDM swagger and would make for some fine pole dancing music (Imagine the booty shakes to Connelly’s “Hoo! Ha!’s”). “Silikon Suckaz” is even more perfect for that setting with Connelly at his most maniacal. Soon to be touring partner Richard 23 of Front 242 shows up on “TKO Mindfuck” further into TVMALSV to really bring things full circle on a track that is instantly mesmerizing and a reminder that you can’t keep a good Cock down.
TVMALSV is the album you need if you’re looking for some old school industrial without having to go on a nostalgia trip. It’s fresh, it’s new, and it’s easily a must-have for any industrial music and Chris Connelly fan.
Cocksure’s TVMALSV is out through Metropolis Records on August 12th. You can pre-order yours here.
It’s hard to describe VANIISH to someone who hasn’t heard them before. If She Wants Revenge went the way they should have, if I Love You But I’ve Chosen Darkness actually recorded a follow up to their stunning debut, if The Soft Moon were a tad less mechanical, If Bauhaus put out an album in 2014….
Does that help? Are you getting the feels? Can you smell what The Rock is cooking?
Anywho, former member of aforementioned The Soft Moon (As well as Wax Idols and Veil Veil Vanish) Keven Tecon is back after some tumultuous times with VANIISH ready to fulfill all of your gothed out musical hopes and dreams in the year of our lord 2014.
Unlike many of their contemporaries, VANIISH prove to not be a one trick pony on debut album, Memory Work. Tracks like “Succession” and “Kaleidoscoped” easily exemplify how VANIISH stray from the pack with dense, lush songwriting similar to The Cure, who are known for easily navigating between the dark recesses to a sunny disposition from album to album. Just listen to the chorus of “Memory Work” and the bright, shimmering synths as Tecon anguishes “Nothing to remember/Nothing to forget” for proof of that.
Speaking of the title track, “Bela Lugosi’s Dead” permeates throughout setting this one up as this generations new goth anthem with its throbbing beats and sinister air. If “Memory Work” is your speed then try “Fragment/Fatigue” next which sees Nick Ott playing a nasty snare echoed by Tecon and guitarist/keyboardist Adam Beck’s sexy guitars and synths. As for the low end in VANIISH, Amy Rosenoff provides the driving bass lines on Memory Work especially during the bombastic “Search And Replace” and the serene grooves of “Cold Fascination”.
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.
The most aggressive band in industrial music today is back with We Love You, an album that throws everything AND the kitchen sink into the mix. If you liked the guitar-heavy hyper-intensity of last year’s No Redemption soundtrack yet yearned for the more club friendly numbers then We Love You is the solution to all your problems.
It’s like the Daleks are narrating the Doctor Who meets Flash Gordon synth overtones of “We Were Made To Love You” which opens the apocalyptical album. “We Were Made To Love You” is the logical comedown after last year’s abrasive No Redemption album featuring a disjointed swirl of electronics and guitars after the narration ends and the sonic shitstorm begins.
From there it sounds like business as usual (The KMFDM electro romp “Every Day is War”, chaotic thumper “Can’t Control”) but if there’s one thing that listeners should take away from WLY, it is this: Nothing is as it seems. Like the press release states: “Everything is farther, faster, and darker. There are more guitars, pounding drums, heavier electronics, further experimentation, lots more anger…” This means for every “Satan’s Propaganda” there’s a song like “Fuck Unicorns” (Think Daft Punk with some seriously dark undertones and frontman Andy LaPlegua acting as a demented ringleader/televangelist) or the acoustic-driven, pensive “The Evil In Me” waiting in the wings to expand their sound even further.
We Love You also features some of the most straight up rawk tunes Combichrist has ever laid down as well as being the most sing-a-long album to date. “Maggots At The Party” is up first (Followed by “Love Is A Razorblade” later on) and is a straight banger. You can almost picture the Beastie Boys “You Gotta Fight…” meets Lamb Of God’s “Redneck”-style video that should accompany the song with drummer Joe Letz just wailing away at the kit while LaPlegua forces his way through some cluttered crowd at a house party,
The tail end of WLY is where the magic really happens, though. “From My Cold Dead Hands” is a blessing. Easily one of the best industrial songs of the year, the effects-laden robot trading verses with LaPlegua’s monstrous growl is serene. That leads into the equally impressive “We Rule The World Motherfuckers” (Sure to be a hit on the goth dance floor and during their upcoming tour) which is another example of the genius of Combichrist at work. Speaking of genius, that word doesn’t even come close to describing the majestic two part closer “Retreat Hell” with “Part 1” being this monstrous tribal wall of sound and “Part 2” supplementing it with a long running rant by LaPlegua to make the perfect coda to a perfect album.
We Love You is available on March 25th through Metropolis Records. Physical and digital copies are available here and make sure you head on over to their Facebook page to see where you can catch them on their upcoming North American tour with William Control and New Year’s Day.
First of all, I’d like us all to bow our collective heads and observe a moment of silence for Pennsylvania and the Trocadero who not only postponed their scheduled Skinny Puppy show due to some nasty weather but eventually cancelled the thing all together (There will not be a rescheduled date). Boston and the Royale, however, persevered through a second snow storm last week and bore witness to the spectacle of the “Shapes for Arms” tour (Sorry Philly!). It was a sight to behold indeed and nothing seemed to keep both old school and new school goth and industrial fans away (Although I wish the weather would’ve kept the two overly obnoxious, drunk, and aggressive large gentlemen who terrorized stage right home for the evening)
But enough about the weather. Onto the theatrics!
Cevin Key and Ogre never fail to amaze and the latest stage show Skinny Puppy put on was no exception. With a set mixing a fair amount of oldies with new favorites, SP also delivered sonically as well as visually. With the backdrop of a radiological disaster at its core and Ogre donning almost as many outfits as Lady Gaga (Albeit way more gruesome), Skinny Puppy put on a show that was not only one of their best but one that will not easily be forgotten (Thoughts of this being the top show of 2014 is already swirling around my head…).
After instrumental opener “Choralone”, SP ripped into “illisiT” off of last year’s brilliant Weapon and didn’t relent on any of the 14 songs that followed. New tracks like “wornin” and “paragUn” meshed easily with classics like “The Choke” and “Worlock”. The highlight of the evening, however, was probably the encore of “Assimilate” which saw Ogre donning a costume of…himself. Probably the most “loose” song of the evening, it was also the best seeing Ogre uninhibited along with Cevin Key, cigarette between lips, just wailing away behind his boards.
Metropolis Records labelmates Army Of The Universe opened up the show with some visuals of their own (Laser guitars!) and an electro thump rock sound that guarantees showing up early to this show is a good thing.
If “Shapes for Arms” hasn’t hit your neighborhood yet make sure you check it out when it does. You won’t be disappointed. For tour dates and more head on over to Skinny Puppy on Facebook and please be sure to “like” us on our page.
The Skinny Puppy renaissance of the 21st Century began in 2004 with the release of The Greater Wrong of the Right, their first new studio recording in eight years. Ten years later and the band is better than ever and even more potent releasing one of their best to date with last year’s Weapon. In 2004, though, they were still finding their sea legs if you will on an album that was also the first without Dwayne Goettel and longtime producer Dave Ogilvie.
As a whole the album was a welcome return for the reigning industrial giants but it shed most of the ferocious bile they spewed in their early years. Jarring guitar lines are mechanically cut and pasted throughout and not much of a presence overall (Most noticeably on opener “I’mmortal”) while the ringmaster himself, Nivek Ogre, doesn’t quite sound like Ogre. That unmistakable snarl doesn’t rear its’ ugly little head until closers “Goneja” and “DaddyuWarbash” actually. The surprises continued with the overly lush, almost Pop, sound of “Use Less” featuring Wayne Static and Tool’s Danny Carey.
Is this a watered down version of SP then? Far from it! Instead, TGWotR presents a band falling in love with creating progressive industrial music all over again and a sign of what was to come. If you were a fan of the band previously, TGWotR just made you appreciate them more. If you were a new fan looking for a jumping on point then there was no better gateway drug then TGWotR.
The Greater Wrong of the Right re-issue is out on January 28th through Metropolis Records, pressed on heavyweight vinyl for the first time ever. Reserve your copy here, but act fast as the vinyl is limited to 1000 copies! You can also get the album on CD and digitally.