Review: reakt[ion] - We Are the Cause of Our Own Despair

React[ion] We Are The Cause of Our Own Despair

I will have to preface this piece by saying that I have been there for a majority of the creation of We Are the Cause of Our Own Despair, because I live with Wes from reakt[ion], and that it has been a pleasure watching this EP come together. WATCOOD is the follow up EP to 2011’s debut EP, Attrition,which brought a hard EBM dance beat down on the Portland crowd with distorted vocals and political undertones. WATCOOD, however, is a step in another direction. Presented at a slower overall tempo, WATCOOD delivers an avid punch in the guy of the human condition with intense breakdowns and just a hint of wobble bass (often found in dubstep.) But make no mistake, this is not a hybrid dubstep project – reakt[ion] manages to bring these elements very clearly to the world of HarshEBM, along the lines of Die Sektor’s Final Electro Solution.

The lyrical content of WATCOOD is something to be mentioned as well. I felt that the content of the first release, while well written, was too politically focused and ignored personal reflection. WATCOOD however is an open wound bleeding out, the words raw and freshly carved out. It is refreshing, to me, to hear such honest, and personal lyrics from this project.  

Buy it now: http://reaktion.bandcamp.com/album/we-are-the-cause-of-our-own-despair

Dead When I Found Her - Over Dinner

Two Nerds Bullshitting Over Dinner:

with Michael from Dead When I Found Her

The rainy season had just started here in Portland, Oregon, which tends to last a majority of the year, and it was a lot colder than I expected it to be. I stopped in the army surplus store, which was conveniently located next to the restaurant, to pick up some fingerless gloves for my freezing hands. Nicholas’s is a small hole in the wall Lebanese restaurant just over the bridge on the Southeast side of Portland. Having been here many times I knew to arrive early, right around the dinner opening, to avoid a seating delay. The small restaurant sat about 30 people total, a true homage to Portland’s small big city ambiance; the half finished ceiling can attest to this. Taking a seat in the back I read over the questions I had prepared for the interview with Michael, knowing however that I would probably not get around to many of them due to the nature of the conversations we had in the past. The industrial scene in Portland is a small and cozy scene in which a lot of musicians are familiar with each other and are often on first name basis. I have spoken to Michael many times throughout my years in the scene and am a big supporter of Dead When I Found Her so this kind of prying into his life and music was nothing new to me; I have often prodded him for advice for my own project and shared similar stories.

After waving Michael over, we ordered promptly and began our discussions, talking first about our day jobs and regular people lives, and then moving then into the music realm. Michael works in a job that I would consider mentally taxing, and I was curious whether or not it went home with him and had in some way found its way into the music, as these things often do. Having experience from my own job, I was able to relate to the amount of disconnection he spoke of when talking about work issues and being able to leave them in that environment. The food arrived in the form of large Mediterranean-style bread and many plates of vegan mezza - a collection of chickpea, caramelized onions, and lentils. Every once and a while I would glance at my questions and try to steer the conversation towards them, but in the end we were just two nerds talking about music.

Skinny Puppy, an obvious factor for the everyday world that both Michael and I live in, came up in traditional nerdcore fashion. Too Dark Park played a large part in shaping the atmosphere of Dead When I Found Her’s new album, Rag Doll Blues, which was apparent and respectable to me. I think that the modern musician should spend more time in the pre-90s Skinny Puppy collection. Michael said that he tries to make the music that still holds strong to him, like Caustic Grip by Frontline Assembly; what he loved about these classic albums was the inventive sampling and atmospheric elements that are lost in today’s music. Rag Doll Blues uses an ensemble of custom shaped samples and horns that were not in the previous release, Harm’s Way. Another noticeable difference is the lack of guitars, which Michael says was not intentional. Up until the very end of the album he had been trying to place guitars in at least one track, but it just never worked out the way he wanted.

Another influence I was curious about was a strange Kate Bush feeling the new album had to me, which I find an infinitely beautiful addition to the sound. This is credited, Michael says, to the horn samples and the differences in timing. Tracks like Doll Parts really set this out from any tracks on the previous album. There is always an inherent fear when following up a debut album; will it sound too much like the last, will it just be a fancier version of the same songs, or will it be so completely different that fans will not like it? I shared my own fear of this, having recently released my debut album, and how I felt that most people in the genre simply just perfected the skills they had used on their first album and did not bother to venture out into different realms. In this respect I felt Rag Doll Blues was a perfect transition from Harm’s Way.

Dead When I Found Her has been labeled “Old School Industrial,” which to me is kind of an off putting label. Michael said that he did not mind this label at all because that is what he likes, old school industrial. He also expressed that he did not care for these subgenre labels and that since he has grown up he did not have the patience to keep up with the Aggros and the EBMs. We also discussed what a lot of people call “horror industrial,” and how the original label was a pretty great representation of the music, which at the time was based around horror movie samples.

I asked Michael if he planned to go out on the road and support the album with touring. He replied that when he was younger, like me, the urgency of leaving town and being on the road was far more abundant, but now as he holds a more permanent job and has had these experiences, the inclination towards a stage show has dwindled. He wished only that he would be able to release studio albums and have people respond well to them, and he said that if some of these shows came up, and he and his partner had time in their work schedules to take off, he would love to play live.

Having recently seen Suicide Commando up in Seattle, I brought up an interesting new implementation that I had observed – an Apple iPad on stage with live filtering and remixing. I asked if Michael had any plans to go out and buy any new hardware any time soon. He stated that he liked the idea of hardware synthesizers, and turning knobs is always fun, but in the end the software equivalent was good enough for his creativity. We discussed Ableton Live 8 and the difference between the DAWs that are out today (I personally favor Logic Pro Studio but understand the need to be comfortable in your creative environment.) We talked about how Ableton Live 9 was a mythical creature and seemed to be never coming out. Ironically, one day later the new features were leaked on the Ableton Forums – it was as if they were there listening to us, secretly stealing our hummus when we weren’t looking. Sneaky bastards.

Artoffact Records has been pushing Rag Doll Blues quite strongly, which is extremely good for Michael and Dead When I Found Her. We spoke about the release and how he had expected it to go versus how it was going now, which if you have not had the chance to check out any of the social media websites has been very well. Artoffact has really made it a point to focus on some of these newer bands and push them as far as they will go right away, to the point where the label executives contact me here directly and ask how it is going and how our dinner went – you can tell they are just huge nerds like the rest of us. Michael said that the reception of the new album has been more than he could hope for, and that all of the promotion around the album’s release took him by surprise at first. There is something to be said about a label that is upfront with you and in frequent contact.

As dinner wrapped up and the conversations centered on the local scene and the frustrations over finding the right MIDI controller, we took to the wet streets and went our separate ways. Reflecting now, I see Dead When I Found Her as not only a local act that has been paving the way here in Portland for band like my own, but has been paving the way worldwide. There are not too many albums that have come out in the last year, that I would consider under the Industrial umbrella, that have moved me emotionally like Rag Doll Blues. There are a lot of nostalgic elements in that record that really hit a chord for my old school nerd love for Horse Rotorvator that I had forgotten about. It is a great album, from start to finish and I encourage you to listen to it if you have not.

I, Omega Review by Wesley Mueller

I, Omega

By Wesley Mueller

I, Omega is the first full length album from Portland, Oregon artist [product]. It is being released through COP International and will be available worldwide on October 19,2012.

The album starts strong with the track “The Last Battle”, a song that begins with vaguely Blade Runner-esque swells before moving into the dance driven aggressive beat that [product] uses so heavily. As the synth line comes in you immediately know that you’re listening to a [product] song; the lead moves quickly but with purpose, and manages to be both upbeat and brooding at the same time. The song follows what will become an album long theme of both philosophical and post-apocalyptic imagery. The vocals are distorted and effected heavily, but with Michael Kurt’s unique voice it is not hard to make out the words he is assaulting you with.

After “The Last Battle” we get “Lungs Full of Water,” a track that was on the I Hope You Choke EP released digitally in November 2011. Lyrics about drowning surge over swelling synths and you get the distinct impression that these oceanic overtures may have inspired the theme of the song.

From here we move to “Brackish”, another track from I Hope You Choke. This is the first song on the album where you can really hear hardcore influences – cymbal heavy breakdowns and slow, mechanical snares. This song stands out as less overtly danceable than other tracks on the album, a refreshing break from the repetitive four-on-the-floor drumbeats that plague the genre.

“Brackish” gives way to “Greed (The Second Skin)”, a new song from the artist, and a song that continues the post-apocalyptic theme started in “The Last Battle”; lyrically it touches on the construct of economy and money, and the worthlessness of it in a post-capitalist hellscape. One thing that strikes me about “Greed” is that before the verse comes in, the swelling pad and fast moving synth line dotting away reminds me a lot of nolongerhuman’s first album. However, once the verse comes in, so do those tell-tale synth lines that [product] is so good at making his own.

Next up is “Imminent”, another I Hope You Choke track. This track is much slower than we’re used to getting from [product] - the kick line pulls us along at around 110 beats per minute - but it never feel like it drags; instead, we get an emotional track about innocence in the face of false accusations. About half way through the song, we lose the synths, the beats, and the bass, and are treated to a flowing peaceful pad that pulls us into the next chorus, “You’re Innocent/They Don’t Believe You”.

“The Decline” changes pace and brings us back up to that dancing four-on-the-floor beat that we all know so well. While the song is, overall, constructed and layered very well there is a synth line that runs when there is a break in the vocals that makes me feel like I should be watching an early ‘90s martial arts movie based on a video game. Lyrically this song may give us a view of how the rest of this album’s world went so wrong, the vocals yelling warnings about bombs dropping and a city being destroyed by war.

From “The Decline” we move into “Death (A New Beginning)”. The opening synth line makes me think of Suicide Commando, or maybe Dioxyde, neither of which is a bad thing. The lyrics of this song have a cadence that surprised me, and the theme seems to be the immediate aftermath of the bombings from “The Decline.” I don’t know if [product] intended for this to be a concept album but so far, with the exception of the I Hope You Choke songs, it certainly sounds like one.

“Everything Falls Apart”, the last I Hope You Choke track on this album, comes in immediately hammering away with kick drums, off-beat bass lines and moving arpeggios. Underneath high sweeping synth lines, [product] sings a song of club love, dark and destructive, but sung with less emotion than you would expect given the content of the song. Maybe it’s just harder to aggressively scream lyrics of a love song.

At this time in the album we have reached the title track, “I, Omega”, and it starts off strong with a clip about the uselessness of consumerism. A pounding beat dances away under a dark synth line while [product] implores you to take back your life from the materialism you have built up around you and make yourself happy. A poignant song, “I, Omega” is clearly tinged with [product]’s views on existentialism and may be reflecting his Straight Edge lifestyle.

“An Era of Agony” moves away from the four-on-the-floor beats again, and you can feel the anger in the synth lines before you hear a word of the lyrics. Anti-religious overtones mark the lyrics of this track as [product] demands that the faithful look into the abyss and realize that their God is missing.

The next song, “Provoke (9mm Intervention)”, is a song about school shootings, which is I guess something he wanted to write about? It’s fun musically, but lyrically I want something more. If I want mindless EBM about killing people I’ll go pick up a Dawn of Ashes album.

The final song on the album is “Blind Indifference.” The song is instrumental, mildly ambient, and brings the album to a surprisingly soft close. I think that this could have been a good intermission track, and that [product] could have closed on a stronger, more emotional note, but musically, it is a fun piece to just sit back and listen to.

I, Omega is a very good album, especially for a debut. [product] shows that he is an expert at building layers in his music, both musically and lyrically; his synth lines are distinct and original, and while you may hear the occasional homage, I think that in an electronic genre this is largely unavoidable. Most of his songs have lyrics that have to be listened to or read multiple times to decipher the full meaning; what on its surface may appear to be a song about dropping bombs or drowning may actually be a song about inner turmoil or a statement on the capitalistic society that, ironically, even the most anti-capitalist musician must try to thrive in.

Disclosure Statement: I’ve been a [product] fan for a number of years now, toured with [product], and am good friends with Michael Kurt, the man behind the music. While I have attempted to write this review as objectively as possible I think that any piece of non-fiction writing, including album reviews, will necessarily show at least some bias from the author and I hope you will forgive me if any of this bias has seeped in.

Distorted Memory - Temple of the Black Star

Today saw the release of the new Distorted Memory singleTemple of the Black Star. Couple of things about this release: It’s free, it’s a work of pure art, and it is a prime example of what we need from industrial/electronic music in the here and the now. Presented in nine movements, Temple of the Black Star is what Distorted Memory has referred to as a ritual track (a collection of tracks mixed into one strong piece of art.) Needless to say there are lessons to be learned here kids, so go buy yourself some Mackie monitors and blast that shit as loud as you possibly can - it’s the only way to summon the dark souls back to the earth.

In all seriousness though - best thing I have heard in months, it is free and you have no excuse to not get it right now: It was self released

Neurotic Fish Alive!

In case you have not heard yet (it’s been like two weeks since this was announced, sorry) Neurotic Fish has risen from the grave and started working on a new full length album again! Neurotic Fish is one of my favorite bands of all time and I play their tracks often when DJing locally, so this news is amazing!

Check out a small sample and some news posts on their official website!

http://www.neuroticfish.de/

CD Review: God Destruction - Illuminatus

God Destruction - Illuminatus

Engraved Rituals (2012) 

HarshEBM/ TerrorEBM/ whatever you have decided to call aggrotech these days has taken such a strange turn since the early 2000s, especially with the ‘12 Hard House bullshit that is growing evermore prominent. I am happy to say that God Destruction has truly brought Satan back into Industrial music and returned it to the dark,dark world it belongs in.

When I picked up Illuminatus I was extremely put off by the cover art - a baby doll that was efficiently creepy, but pretty cheesey horror themed for me. I am happy to say that I gave it a chance despite that and holy shot was it worth it. From the very first track you can hear the prominent darkness decending upon harsh beats. It was just what I needed to pull me out of the terrible rut that this new obsession with crappy harsh techno had put me in. It was dark, it was mean, and most importantly of all they brought Satan back into the picture. I think too many people have shied away from great elements of satanism and dark themes in favor of war and politics. 

There is a great black metal influence in the music as well. I am not one to put guitar in my industrial, ever, but God Destruction has really made it work for them. It’s not too prominent and I really like it. The fact that they are already opening fir Hocico later this year really says something to me. Keep your eye on these guys, they are definitely going to go far, I have no doubt about it. 

But it here: http://engraved-ritual.bandcamp.com/album/illuminatus

Review: Better Beings - Surface

Better Beings – Surface

Better Beings is the electronic UFO calling side project of Portland local band Bryan Minus. Their first album has recently been self released online and is chock full of amazing stories from planets beyond our own. The concept of Surface is based around the idea that ecclectic beings have come to earth and observed all of the horrors that mankind has become.

With heavy base and catchy synth lines, Surface is a great first release, along the lines of IAMX and Moving Units. The first track, Message, brings you right in to the world - “There is something hidden/ written in the sky/ some kind of message/ force to defy/ a message from the future..”

The genius of Surface is the emotional duality that is explored as the album progresses. Waves explores the greed and need for fame in human nature and how it is all cyclical. Not only do you have dance friendly beats, roving baselines, and screeching video game like synthesizers (which are becoming increasingly more prominent in the genre,) you also get philosophical depth!

I believe that Better Beings will have no trouble finding a home on a prominent label if they decide that is what they want for the project. I also think that the music is versatile enough to fit in with a lot of genres. I am very excited to see this project grow and infect all awaiting human life forms.

Check out Better Beings on FACEBOOK

Portland: A Gothic Recovery Project

I recently returned from a trip to Seattle, WA where I had the amazing opportunity to visit and be a part of their gothic culture. I consider myself a pretty adamant member of the gothic culture here in Portland, OR – I go to the weekly nights as much as I can, I go to special events and store openings, I support as many local businesses as I can, I go to as many shows as possible, I DJ occasionally, and I am a signed industrial artist – however, I must say that the scene here is extremely lacking comparatively. This is infinitely sad to me because I believe that Portland is a fairly liberal, progressive town in a lot of regards, but I feel that we are falling way behind some of the bigger cities.

My experience in Seattle was nostalgic to say the very least. My partner and I went to The Mercury, which is a private club that is home to many weekly industrial nights in the area, and were instantly impressed. On Friday night, which was a smoke-free night, there were a lot of people spread throughout the medium sized club space. The music selection was noticeably different from that in Portland. Aside from a little hassle at the door, due to some scheduling complications and some schmoozing, we were greeted with a set of club rules: Dress Code Enforced. Do not take pictures of people you don’t know, if you have to take pictures of your friends and stuff do it respectfully, away from the dance floor and try not to get anyone else in your shot (which is a problem we have in Portland, people are creepy); Do not approach people (mostly male to female encounter,) if they want to talk to you they will; If you have any problems, come to the bouncer first so that they can handle it and remove the member; Be respectful of what people are wearing, or not wearing; If you see something, report it to the bouncer, do not handle it yourself. Etc.

These rules seem like pretty basic guidelines for regular club goers; however these are some of the major problems that I see here in the Portland scene. People do not dress up anymore, as much as they used to anyway, because I think that they feel uncomfortable being weird, or revealing, or their exhibitionist selves due to all of the non-genre people (hipsters, bros, hip-hop kids, etc.) This is also attributed to some other factors, which I will address later. With the private club atmosphere you have control over who you let in and can afford to let in. There is security in this. People taking pictures of you is kind of an issue, for my partner and I personally anyway, because it makes you feel like you are being watched and documented without permission (I am not talking about your friends taking pictures of you at the bar – I am referring to the random hipster kids taking pictures of each other dancing and getting you in their shots, or worse yet the random older dude taking pictures with a disposable camera – happened and was gross.) Do not proposition people: another big issue that I see in the Portland clubs is these hipster drunk assholes slobbering all over these beautiful gothic girls and creeping them out to the point where they leave and tend not to be too up on coming back. This sounds kind of off putting (“do not proposition,”) however if you are respectful this should not be a problem at all. If you have a problem, go to the bouncer – Portland has a lack of bouncers at most clubs, however there are designated people that keep an eye out instinctively, like myself. But even if you take that into effect, I think too many people cause needless drama for things that could easily be taken care of with a third neutral party.

So, aside from the private club rules, which really helped the environment in my opinion, the music selection and DJing in general deserves its own debate. I did not hear one Combichrist song, the only VNV Nation song a really old alternative remix, the Nitzer Ebb song was not Muscle and Hate, no NIN, no Siouxsie and the Banshees, no Thrill Kill Kult, no Foetus, no Japanese Call Girl, no Slave to the Needle, and mostly all remixes or covers. It was amazing. For the first time in a very long time I approached a DJ, with lights in my eyes, excited, and asked who they had played because I had never heard it and it was amazing! It was a very strange feeling to be unaware of the music, I’m a big nerd. Secondarily to all of this – The DJs mixed the music flawlessly! There were no lead outs, no gaps between songs, etc. At times I would be dancing and suddenly realize that I was dancing to a completely different song! (If you live in Portland, you should know that this is exciting and foreign.) I cannot stress to you enough how amazing it was to hear real techniques being implemented in the DJing there. Don’t get me wrong, I do like the DJs in Portland, as people they are great – this is not a bash on them, however I think that they whole thing has become this constant playlist that is repeated. I hear the same thing every time I talk to someone about this issue – No one will dance to the new stuff, I play it and they all clear the floor. You have to play what they want to hear. Etc. This is bullshit. What is happening now is a culmination of many, many years of Djs copping out, and using the people as an excuse. I believe that this should end. Period. When I DJ I do not play the regular songs and guess what, people still dance. There was never a time when someone came up to me and said, “Hey, why aren’t you playing Combichrist?” Secondarily to that, I believe that the general lack of skill has been excused because the same people have been doing it for so long and they do not feel that they need to improve. Again, this is not a personal stab at DJs, I love them all as people and they play my music and I appreciate them endlessly for their support – this is more a call to do better.

On top of all of this ranting, my partner and I were utterly amazed by the difference in fashion. Everyone dressed up, men and woman alike. People dress up in Portland, but not a lot of them. It was definitely a sight to be seen – it instantly brought me back to the Hawaii days and all of those weirdoes. It was great. I think that the private club thing had a lot to do with it – but I believe that The Metro Clothing store and Bedlem Bedlem had a lot more to do with it. We walked into the Metro Clothing Co store up in Capitol Hill and instantly knew why people dressed up in Seattle more than Portland. The store was packed with amazing new and awesome clothing, many companies I’d never heard of and clothing I’d never seen before that weekend. There are a lot of great quality clothes out there and I feel that we are missing it in Portland. The key difference between culture in Portland and Seattle is that Portland is a far more DIY culture that Seattle is. There was a diverse collection of styles presented in both stores that were 100% gothic and 100% independently owned. A lot of stores that have tried to start up in Portland have eventually failed for a number of different reasons – poor marketing, poor management, inexperience, poor choice in clothing and dingy clothing, and general lack of cultural involvement. We had the opportunity to talk with the store manager at Metro Clothing and were definitely impressed by his knowledge of not only the clothes, but the music, the culture, and the events/club nights/etc.

There is hope in this matter though! Good friends of mine just opened up a new store in Portland, Wells & Verne, which is more of a boutique than a regular clothing store. I think that this is what we need in Portland. I know a lot of people are kind of iffy about the price points and all that nonsense, but you have to remember that a lot of their clothing is great quality and also mostly locally made and free of child labor. I have hope for them. They are very involved.

Club nights are dropping very quickly, and changing locations, and being invaded by hipsters, and we are all just sitting here and wondering why? It is because people have given up caring and just excepted the fact that this is just the way the Portland scene is, and that is sad. I believe that it can be much, much better very easily. New Music, new stores, new events, new clothes, new skills, and no drama, no dubstep, no crossover, no top 40s or rock. Pure fucking industrial. Bring back Futurepop (the good kind.)  

Saltillo - Monocyte: The Lapis Coil

Saltillo - Monocyte: The Lapis Coil
Artoffact Records

The time is finally upon us friends and fiends! Saltillo is easily becoming one of my favorite projects. I can not count how many times I have suggested them in conversation and elsewhere. It is all around a great endeavor. And now (!) Artoffact Records is releasing a Vinyl version called The Lapis Coil, with some exclusive remixes. Very excited for this.

(The Official statements)

All of this is allegory. All of it.
After the very successful Monocyte comic and accompanying CD soundtrack, menton3 AKA Saltillo delivers a superb vinyl edition, Monocyte: The Lapis Coil. The vinyl is a new take on the Monocyte story, twisting the original versions with remixes, remastering, and a stunning new track, Necromancy. The collection is presented with beautiful artwork by menton3, a self-portrait that looks deeply into the dark soul of one of America’s finest contemporary artists. Released on Artoffact Records.

Buy now links:

Storming the Base
http://www.stormingthebase.com/saltillo-monocyte-the-lapis-coil-vinyl/
http://www.stormingthebase.com/saltillo-monocyte-the-lapis-coil-mp3/

iTunes
http://itunes.apple.com/us/album/monocyte-the-lapis-coil-ep/id518747688

Amazon.com
http://www.amazon.com/Monocyte-The-Lapis-Coil/dp/B007UEB990/storming09-20

URGENT PRESS RELEASE!

Fredrik Croona and Engraved Ritual present ‘Fight, Survive, and Live’

Fredrik Croona (Project Rotten, Cynical Existence, ex-Menschdefekt)
and Engraved Ritual present a new digital compilation entitled ‘Fight,
Survive and Live.’ 100% of sales will be donated to Jim Semonik’s
fundraiser to pay his medical bills.

Released on May 18, 2012 on Engraved Ritual, the album features 10
exclusive unreleased tracks from some of the best dark industrial acts
today such as Say Just Words, Nolongerhuman, Project Rotten, Nano
Infect, and more.

The album will be pay-what-you-like (minimum 1.50), and features
mastering by Sander Kapper of Stahlblack Productions and stunning
artwork by Pixelbreed AKA Alexander Fröbel.

TRACKLISTING (preliminary)

Cynical Existence (Official) - The last day (before its too late)
God Destruction- Become Death (Carnivalized by Cynical Existence)
Necroleptic - Rain
Nolongerhuman - Don’t pray (Touched by Stahlnebel & Black Selket)
Say Just Words - This is not salvation
Project Rotten - Embraced by flames (Fucked up remix)
Syndrome X209 – You & Me (2012 rework)
Frontal Boundary - Whore
Nano Infect - Jesus is dead (Terrorkode remix)
Mas-Si-Osare- Devil’s Whore
Deathcamp Project- Behind (Upfront remix by Controlled Collapse)

hear a 90 second clip of the Say Just Words track @
http://soundcloud.com/engraved-ritual/say-just-words-this-is-not

Review: Unitcode:Machine - Nosophobia

Unitcode:Machine is what I will call a EBM project from Dallas, Texas. It is kind of hard to pinpoint what genre exactly they are, which is often a good thing in today’s music. Nosophobia is the 3^rd studio album from Unitcode:Machine, released without label, onto untold masses. As I was going through the CD, trying to formulate an appropriate sub-genre reprisal I found myself torn between EBM and futurepop (in a good way.)

I hear a lot of Imperative Reaction influence in the male vocal style, which is also, in a very good way. The music is a little chaotic for me personally, but it works really well beneath the dance beats. There are some points where a female singer is present, who reminds me of Siouxsie And The Banshees a little bit, but it works really well in the electro background.

On a less superficial level, the lyrics are really emotionally based, which is always a win in my book. Songs like “Fall Again” and “Reflect” really stand out to me as emotionally driven songs, that bring me close to them. “Reflect” especially is based on “I AM” statements – a nice look inside of someone else. “You cant survive without me, you know you amount to nothing. I am the cause, the cure, the pain, I am inside.” is a really good line.

I believe that this CD is really really good – I do think, however, that professional mixing and mastering would send it soaring into a whole new area in the scene. There are a lot of great elements in the music that I can hear that are understated, or lost within the mix of the tracks. All around though, I thoroughly enjoyed this CD, and will be playing “Reflect” the next time I DJ here in Portland.

I would recommend this CD to fans of: Imperative Reaction, Access Zero, Older VNV Nation, and older Apoptygma Berzerk.

https://www.facebook.com/pages/unitcodemachine/127051220667473

Review: Cynical Existence - A Familiar Kind of Pain

Cynical Existence was birthed from the industrial womb of Project Rotten’s Fredrik Croona and comes at you with a vengeance! Project Rotten is a favorite of mine, so Cynical Existence is an interesting look into the solo works of Croona.

A Familiar Kind of Pain, out now on Engraved Rituals, is the first card thrown into the Harsh EBM game from Cynical Existence. From the first track, you are thrown into the an emotionally cage and release of dance beats and raw emotion. For me, the CD really climaxes at the collaborative track with Pre Emptive Strike 0.1 “I’m Broken.” That track is really solidly put together, musically, and lyrically. I think that, if given the right exposure, it will easily become a club staple at industrial clubs worldwide. It is an ideal dance song for me because it has the emotion behind driving bass and drums with the high -pitched saw synth.

I hear a lot of Hocico influence in the music, which is a great thing, mixed with a familiar Project Rotten element. Don’t misinterpret that as me saying that it is the same as Project Rotten’s releases though, because this definitely stands out from those tracks.

I would recommend this CD to listeners who like: Hocico, C-Lekktor, God Module, and Project Rotten (of course.)

http://facebook.com/cynical.existence.official
http://facebook.com/engravedritual

Ten questions with Matt Fanale of Caustic.

1.What was your first synthesizer you ever owned?

When I was a kid we owned a Casio that I played with a lot. I never learned much on it as I just banged away, but I always had fun with it. I think the first and maybe only synth I have currently is an old Casio SK-1, but I’m mostly a software guy anyway. That synth’s fun because it’s got a small sampler and I remember one improvised noise set I did with Endif and CTRLSHFT (which we’ll be releasing soon, I think) I kept sampling the live noise and then playing it with the keyboard.

2.What is your current set up, both in your studio and live?

I’ve always kept things lean, partially because I’m broke and can’t afford a million dollars worth of gear and partially because I think limitations bring more inspiration and allow you to get more creative with what you do have. I make all my music on a PC loaded with FLStudio Producer Edition (I think I’m a few versions behind—probably 8?) and a ton of VSTs/Plug-ins.

In terms of hardware I write out melodies on a Korg Nanokey and use a Triggerfinger for modulations. I also play with my Kaoscillator a bit on some tracks, as well. Basically I keep my studio as compact and basic as possible.

3.What is the next piece of gear you plan to pick up, and why?

Next piece of gear? I’m not sure, actually. I have most of the gear I really want. In terms of VSTs I’ve been wanting to snag Ohmicide and Sylenth but just don’t have the cash yet.

4.What is your favorite synthesizers, soft synth, and hardware synth and why?

As I said I’m a software guy overall. The main softsynths I use are NI Massive, FM7/8, Vanguard (Tom from A23 put out a great bank for it a while ago that I use a lot), and a ton of free synths I got off of kvraudio.com, smartelectronix.com, and other places online that I hear about. I love the TAL stuff and you’ll hear it all over my last 2-3 releases.

5.Make up something that MIDI could stand for.

Macho Infidels Dine Infrequently. Which is true. Hunger is weakness.

6.List all the synths you have ever owned.

Uh, the Casio when I was a kid and the Casio SK-1.

Now I feel lame.

7.What other bands have you been in?

I’ve been a part of The Gothsicles live for quite some time and played as part of Endif for a few years as well. I’ve done one-offs playing with everyone from Cenotype (still one of my favorite shows ever) to Chemlab, but I wouldn’t say I was “in” either of those bands.

I do have several side projects I’m in as well, which include Prude (Jared/Chemlab, Marc/Plastic Heroes, Phil/Infocollapse, Howie Beno/13mg, and a few others), The Causticles (Brian/The Gothsicles and myself), Parasite Twin (my other pal Brian and I), and a few others which haven’t been made public yet for lack of progress.

Oh, and Gothsticulate, which is Brian, me, and Geoff from Modulate. We’re the most popular side project you’ll probably never hear music from.

8.Who is your favorite band to tour with and why?

I’ve only done one official tour and that was with The Gothsicles and Prometheus Burning so by default those are my favorite, but some of my favorite bands/artists to play with are Alter Der Ruine, Everything Goes Cold, Boole, Null Device, W.A.S.T.E., and Tool.

Okay, I’ve never played with Tool, but I’d like to. Their fans would hate me.

9.Where do you see Caustic in 5 years?

Honestly I’m not sure. I “am” Caustic, so it’s not like I need to worry about keeping another contributor or bandmate happy all the time. I just figure I’ll do this as long as its fun and I have the time. It’s been an extremely rewarding project and I’ve taken it much further than I probably have any right to, so for the time being I’m just enjoying it and not worrying too much past finishing what I’m currently working on and playing a few shows. The process has always been more fun than the results (as much as I love those, too), so I’m just digging making songs and hoping they’re embraced by whoever likes this sort of crap.

10.Pick one, and why? A duck dipped in aids, Zombie sharpie marker, Green Yugo with M.C.Hammer In the back seat, or a bowl full of scabs.

I’ll go with Zombie sharpie marker, as I’d like to see a marker try and feed on my brains. Plus, I’m not into AIDS dipping sauce and MC Hammer still owes me money.

http://www.facebook.com/causticmusic

Industrial Synthesizer and Gear Review is a set of interviews that are done by my good friend Shawn Holt (of 357) - it is specifically targeted towards super synth nerds like me! I found them very interesting, and he has been kind enough to allow me to co-post them here on the blog! Double the nerdiness.

10 Questions with Michael “Moose” Best of Among the Weeds / Alaska Highway

1.What was your first synthesizer you ever owned?

First I ever used was either the Korg MS10 or Jen SX1000, but the first I owned was a brand new Roland SH101 with the mod grip, dark grey with the leather strap & flightcase! Cost a fortune!! I ended up firing the internal step sequencer from the Roland TR707’s click output (cowbell?) running from a Korg SQD1 sequencer… ah, college days!

2.What is your current set up, both in your studio and live?

Oh gawd, my current studio is mostly top secret as I use a lot of hardware for sound creation & effects, which gives us a more unique sound – if everyone is using the same software plug-ins they are more likely to sound the same! Komplete8 can only go so far…

Live for ‘Among the Weeds’ I use a custom designed & built electronic drum kit utilising Pintech triggers on a speaker stand firing in to a Roland TD8 or TD10ex. Nicknamed ‘the drumtree’ it makes a lot of people scratch their heads as even drummers sometimes don’t “get it”…

The studio is kinda crazy – 25 years of hardware buying (with little selling) means I have a huge collection all running from an Apple G4/933 & Cubase VST. I can hear the laughter now!! Yeah its old, but I can run 32 separate MIDI outputs in to my gear so everything is always plugged in, and Steinberg’s MIDEX8 interfaces & Cubase VST running LTB means ZERO MIDI delays on playback!! AKA accurate as hell!! My Yamaha 02r keeps it all together…

3.What is the next piece of gear you plan to pick up, and why?

Novation Ultranova simply because it is the best VA currently available! This thing is nuts to the extreme, both in programmability & sonic power. The more I play on it at work the more I realize its at the top of the list. It’s a very short list too!

4.What is your favorite synthesizers, soft synth, and hardware synth and why?

Difficult question! A toss up between the Waldorf Q & the Oberheim Matrix 12. Awesome VA vs probably the best analogue synth ever made… I’ll be buried with my Waldorf Q32…

Software would have to be ABSynth…

5.Make up something that MIDI could stand for.

Most Idiots Don’t Identify… still amazes me that people come in to the store & ask about the ‘new’ MIDIs software (its been around since the early 80s people!!!) or claim that its totally dead & are still using USB controllers & software. Its ALL run by MIDI!

6.List all the synths you have ever owned.

Massive list!! I started with Casio’s awesome CZ3000 then added Ensoniq’s SQ80 & EPS, the Roland D550MEx (the upgraded multi-timbral version), Korg Wavestation EX, Roland MKS80/MPG80, Akai’s huge S1000kb sampler. At one point I owned 3 Wavestations…! Oberheim Matrix1000/Matrix12/Xpander followed…

More highlights included 5 Alesis QS series romplers, Waldorf Q32 & MWxt, 2 Yamaha SY77’s & an SY99 plus a DX7/DX5, Korg N364/WS-SR/T3, Nord Lead 1/2/3, Emu PX7/Orbitv2/ Audity2000/World/2 EIII samplers, 2 E4xt samplers & an Emax1 sampler… I’ll stop there shall I?!

7.What other bands have you been in?

“Shootersway Park” was my first real project back in college (late 80s) which morphed into “Q With An E” then around ‘96 changed to “alaskahighway” with whom I released 2 albums. “Among the Weeds” is the current time consumer, with album 3 nearly in the can.

8.What drum machines have you owned if any?

Heaps! Current favourites include Roland TD10ex & TD8 virtual drums plus the R8M/TR606/TR707/TR909, Alesis SR16/18 with the DMPRO & DM5, Yamaha RM50/RX11/RX15/RX5/RY30, Emu Procussion, Korg S3 & ES1/ESX1, Boss DR660, Hammond 1968 analogue thingy, LinnDrum2… So yeah, I’ve owned a few…

9.Where do you see “Among the Weeds” and “alaskahighway” in 5 years?

“Among the Weeds” will continue to build on the first few albums, trying some new directions but still based on technology. The style is getting darker & bigger, not by choice but simply by itself. Rose Z Vine & I have always written well together, and with David K Anderson on board he’s lending a lot of grit.

“alaskahighway” is currently on vacation but I may release a 3rd dance/industrial album under that name some time.

10.Pick one, and why? A duck dipped in aids, Zombie sharpie marker, Green Yugo with M.C. In the back seat, or a bowl full of scabs.

Has to be Zombie sharpie marker… Minutes of fun as it’d help other people identify the zombies!!

};-)

Aesthetic Perfection Videos!

Aesthetic Perfection has posted not one, but TWO, awesome videos from the new album! The mailing list members received the first crack at it and now I am passing it down to you!