Madre Teresa have seemingly, burst out of the Italian dark electro scene. We do not know who they are, other than a duo and that the EP, Dentro Sono Cremisi, released on April 22nd, could be their debut….maybe. Dentro, Sono, Cremisi basically translates to Inside, I am, Crimson. I would also like to point out, the EP cover picture is a booby-licious demon lady who is waving around a keyboard, a skull, a chalice and a mother loving lightsabre, so it does not get too much cooler than that.
“Dentro” most definitely has a serpentine flow to it, as it seems to be about snakes, rapid temperatures, storms and six, six, six. There are changes in tempo that throw you slightly off kilter as the female vocals prettily keep you off guard and the synths happily twitter away. The way the electronics hit you like looped waved is quite wonderful in “Sono“. Madre Teresa might be the Antichrist or a projectile but really they are poison and death the only antidote. The groove through this very catchy.
“Dentro” has such lines as Dal silenzio oltre il nero penetra nella mia carne or From the silence before the black penetrates my flesh (or about that) and you have to the embrace the techno bleats and delightful self duet within. A hypnotic affair. There is also a bonus instrumental version “Cremisi” that creeps its way along in a space odyssey way.
The lyrics, if my Italian was a lot better, seem to be full of symbolism and written for descriptive effect, rather than a narrative but that is only the half of it. The music jumps out at you for not being typical synthwave, engulfing you in the (en)chanting vocals, the synths going from melodic to sexy dark with extraordinary little, added jangle bits. Really there is something quite breathtaking in the way they compose and play music… so now you have the opportunity to go have a listen to Madre Teresa.
Esoterik released their latest album, Alchemy, in March. Dubbed as pagan-synth, this US duo of AllisonEckfeldt and Brady Bledsoe, have created an album which has mystical folk tendrils, spliced together with electronic synths and rhythms. It is beautiful and danceable with a spiritual centre, calling back to a time when our ancestors were more in-tune to the world they walked in and the earth was far more listened to. So we decided that it was time to ask the band themselves about the new album and Esoterik.
Welcome Esoterik to the druidic grove in which Onyx thinks deep and perplexing thoughts.
The project, Esoterik, came into being in 2013, so how did it all happen?
Allison: I’ve felt a strong pull to create music, perform live and tour since high school but never had things line up to where it could happen… I ended up asking Brady if he would like to join together in a project after I had tried out as bassist for a different band he was in.
Brady: My musical tastes have always been all over the place and love creating soundscapes in different genres. Allison and I were sharing some of our favorite artists so I decided to take some of the elements I love most about those and just push it through my normal songwriting process to see what happens. I showed her a couple of demos and before we knew it, we had enough material to call it an album.
What were you both doing musically before Esoterik?
Allison: I was mostly playing on my bass guitar on my lunch breaks from work… and singing/recording covers of artists I was inspired by.
Brady: Directly before, I was playing in a project with some friends that I guess you would call Power Pop and also doing a lot of solo gigs with my acoustic, a synth and a looper pedal. I’ve dabbled and participated in projects across a wide array of genres over the years and I think that’s something I’ll always do to scratch the creative itch.
People might not know that the band is comprised of a husband/wife team. So, do you find it easier or harder being married to your bandmate?
Allison: I’ve only really known this formula so I can’t comment on if it is easier or harder… It isn’t hard though; It’s a lot of fun. It’s work too just like anything else you would like to improve upon. Lots of practice, listening, learning and growing. I’ve taken part in a lot of team-oriented projects so I approach this band the same from the same professional standpoint
Brady: I don’t know who told you that, but it’s a secret that was not to be revealed. In all seriousness though, I find it much easier and it’s pretty magical to be able to share the experiences of life on the road. You often hear about musicians having trouble being able to maintain relationships due to a lifestyle that requires a lot of traveling so problem solved there. In my opinion touring is one of the most gratifying and difficult things you can do as a musician and it can wear on you after a while. However, there’s a bond that forms out there in very little time and strangers become family. That experience with my partner is only amplified each time we get out there. I also always know where to find her when it’s time for rehearsals.
How do you both contribute to the creative process of writing songs?
Allison: I usually will write lyrics and pass them to Brady… I have my most fun sprinkling in ‘off the script’ takes during vocal recording however. The song starts to form its’ shape and I get really excited to add in flare where it feels right.
Brady: Our songwriting process varies depending on how inspiration strikes but it usually starts on an acoustic guitar with me working out chords or a melody that pops into my head. Once I have a general arrangement that seems solid, I’ll then go into the studio and start transposing and building out the skeleton. For lyrics or vocal melodies, we usually bounce ideas off each other or Allison may have lyrics already and we clean them up to fit the phrasing with the music.
Your latest album is “Alchemy” and alchemy was the precursor to modern science but still very much in the pseudo science realm, mixed with ideals of magic, and this reflects the album for me. Magical with its roots deep in the earth. What does the album mean for you?
Allison: It’s a journey to reconnect with myself. Take back all the pieces of who I am that I had let get away from me… The songs are introspective, empowering and full of affirmations. This album to me is basically a diary of my past three years doing shadow work. Un-learning and re-learning to live again.
Brady: The concept of Alchemy has transformed and evolved over time but regardless of the focus, the fascination to me from a physical perspective would be how the elements from the earth interplay with our bodies, which are also composed of some of those elements. The practice also plays well into the realm of spirituality and the power of intention. The process of making music to me feels very alchemical with taking ingredients that have a very defined character or texture alone but when combined created something unexpected and seemingly new. The individual songs on the new album have been crafted with purpose and intention to represent the element or compound titled.
Each of the singles on the album were also released as remix EPs, with guests doing each mix. Could you please explain why you decided to go this way and who you invited to do your mixes?
Allison: We invited a lot of our friends and acquaintances to join in on the single releases. We thought it would be a really fun way to send the songs off into the world. I’m really happy with every track and it was so beyond amazing to be able to listen to everyone’s own take for which direction they wanted to take the soundscape into.
Brady: The way people listen to music is constantly evolving and regardless whether or not as an artist you have a preference on how your music should be consumed, I feel like you have to give your music the opportunity the most airtime you can and spreading those releases out with additional content is sometimes the only way to reach who really wants to hear what you’re creating. In terms of the artist selection, we’ve been lucky to cross paths with a lot of talented musicians over the years and it’s a very tight knit community where you start to lean on people you trust and respect.
Some are very big names, so was that both exciting and nerve wracking?
Allison: Everyone who agreed to take part in our project we have met on tours and through mutual friends. Fortunately, nothing was nerve wracking because everyone who took part, I feel very calm around. I’ve never felt judgment from these individuals and have only had good conversations with them. When you can fully be yourself around creative partners, really beautiful magic can flourish.
Brady: It’s always a bit nerve wracking for me no matter the artist, but also super gratifying to hear your music re-imagined and often elevated to another level. There are a few remixes on the EPs where I seriously contemplate whether their interpretation is actually a better fit than the studio track, which is a great predicament to come across. We are really grateful and honored to have the opportunity to collaborate with such amazing artists and even better to call some of them good friends.
The latest single is “Tria Prima”, which in alchemy is represented by a three sided triangle and is the bringing together of three elements. Can you tell us about this concept and about the music video?
Allison and Brady: Tria Prima takes listeners through the underbelly of the mind and highlights the importance of self-awareness and the balance necessary between mind, body and consciousness. Our minds can be a very ugly space to explore and will run wild if left to their own devices. The mind is flawed by design but with focus and intention, freedom from our self-imposed shackles is possible and always waiting.
If you had to pick a track off the album that would be your favourite to play live, which would it be?
Allison: Salt; I really look forward to performing this one live… The vocals are so fun; and there’s such a variety of moods I get to tap into. The whole song really paints such a nice atmosphere for me to vibe with.
Brady: I would have to say Tria Prima, it’s very high energy and I love the dual vocals.
The cover art for the album is really quite exquisite! Who created it?
Allison and Brady: We had a photo session with some very talented artists Neisha T. Ford and Eugnell, who specialize in what I’d call modern Renaissance style shoots. We didn’t really have any direction on cover art at the time, but after seeing the proofs we knew that one in particular just had a feel that was striking and timeless. We collaborated with another amazing artist, Vlad McNeally (Kallisti Design), who has designed for pretty much everyone in the business and he knocked it out of the park with bringing the vision to life.
For 2 years, Covid has created havoc with the music industry, especially with touring. How did it affect the recording of the album and also your ability to play live?
Allison: It benefited the recording process; as we were stuck home the entire time. We had all that extra time to record and just be creative in general. Performing live was nonexistent during the pandemic…so we had no live shows for quite some time except performing for friends. I’m really looking forward to hitting the road once more. Being able to do live shows is such a huge part of the lifestyle that it feels really uncomfortable when I can’t make those in person connections with listeners.
Brady: It was absolutely wonderful from a creative perspective; we were able to finish up the last half of the album without any distractions. We’ve actually only played a couple of shows in almost three years now so we’re really jonesing to 1) be able to perform for an audience and feel that energy exchange and 2) play a new set with the tracks from Alchemy.
Your style was described by a fan as dark pagan, I feel due to your earthy tones rooted in a darker past, would you agree with that interpretation?
Allison: We were coined ‘Pagan-Synth’ by a fan on YouTube after ‘Spirits light the way’ was released and I instantly fell in love with the term. Blending spiritual, spell rooted songs with synth. In the future, as we grow with our sound; I would like to blend more Folk pagan into synth heavy beats. I would like to find a way to blend in some progressive guitars as well.
Brady: We definitely resonate with a pagan path and for me, it’s really about our connection with the earth. When we take time in nature, we feel more connected to everything and that goes a long way for anything that ails you. Some of that inevitably bleeds into the music we create from a lyrical standpoint. However, there’s nothing ancient sonically in what we’re doing at the moment so it may just be a marriage of the two.
What music/bands, first got you into the alternative scene?
Allison: That’s pretty hard for me to pinpoint… I grew up on ‘alternative’ 70’s music and then around 2002 (I was 12.) One of my older brothers, Kyle, burned me a mix CD with Static-X, Fear Factory, Drain STH, Black Sabbath, Gravity Kills and others. The two songs I would put on repeat off of the CD were ’Sold my Soul’ by Zakk Wylde and Drain STH ‘I Wish’. The Zac Wylde song brought me a lot of peace and comfort when I was no longer able to see my older brothers until I was around 16. Just that opening guitar of the track hit me right in the solar plexus. Some of the lyrics I really felt deeply but the melody itself was so healing to me. The Drain STH song felt like the anthem to my existence during my early teens… The lyrics really spoke things I couldn’t vocalize. I found myself going back to that track when I was in a really low spot.
Brady: My first taste of the scene was in the early 90’s and was mesmerized by the melodies and catchy hooks of New Wave and Synth Pop artists like Depeche Mode and New Order. Although when I started actually composing music I was on a steady diet of grunge and industrial, I knew I’d always come back around.
Are there any acts or albums that you are into now?
Allison: I absolutely love Eivor, I’ve seen her twice live and I am in absolute awe of her creativity, vocal range and overall musical portfolio. I own all her CDs and feel such a deep connection with what she writes. I’m also in awe of iamamiwhoami; I can listen to their albums front and back without getting tired of a track… I usually listen to them while I’m drawing or painting. Each track hits me right in the heart.
Brady: There’s so much great music right now thanks to the downtime everyone had with the pandemic. A couple that come to mind though are Haex and Pixel Grip. They both have such a unique spin on the ground that others have walked before. One’s heavier and one is more on the dancey side but I highly suggest checking those two bands out!
If you had the gift of creation with alchemy, what would you want to create with this power?
Allison: Alchemists created such a wide variety of things chemists still use to this day… When really thinking about the question I suppose I wouldn’t be concerned with creating anything in particular. I would instead be more interested in learning and experimenting through trial and error… and from that point pinpointing exactly what path I would want to explore. I would like to spend more time learning from knowledgeable sources about Prima Materia as I think a lot of ideas could be answered there. Carl Jung had some interesting takes on alchemy actually if anyone else is interested in learning more.
Brady: In the literal sense, I’ve always been intrigued by mortality and ways that we try to avoid the inevitable so the Elixir of Life would be my creation. Like much of history though, I think there’s more metaphors in ancient practices than literal so we could very well have that gift and already created that with this album.
Dark pools of still water were considered sacred places where gifts were given to receive both luck and information. What do the dark waters tell you about the future of Esoterik?
Allison: when reading your question, I actually had a memory pop into my head… My kindred spirit Christian and I were doing a ritual by a natural waterfall at night. The waterfall is in Oklahoma at ‘The Sacred Valley of the Gnomes’ (Runestone park.). The waters at the base of the waterfall were pitch black and the forest surrounding had very little light… I offered an expensive Labradorite ring I loved and Christian offered a prize procession of his own into the dark waters to the old Gods. We sat in the darkness together under the starlight. After a bit of time had passed in silence, we both at the same time locked eyes in the sky above something otherworldly I’ve sworn with Christian to never elaborate on. The gift the dark waters gave me that night told me that the Gods will keep me and protect me, guide me and direct me. They told me magic is real and that all I need to be is open in order to receive it. I’ve held this close as my guiding light.
Brady: Much like the dark waters that present an opportunity for reflection, I believe the knowledge and intuition we seek is already within us if we’re able to focus and listen. It’s still hard for me to get too carried away with planning far out in the future. As we have come to realize through an event like the pandemic, those plans can change at the drop of a hat. My focus these days is on the one thing I can control and that’s to continually create music and art that excites me. I feel like if I can keep that going, everything else will fall into place with much less effort.
Brisbane’s HOSTILE ARCHITECT has dropped the EP, ::EX-LOG:: REMANUFACTURE ME, as of the 29th of April, on Brutal Resonance Records. This is a one man, dark industrial project by the not so hostile Mitch Kenny and this EP is the follow up to the album, LOWGRADELIFE.
This is something a little different for the hostile one. “REMANUFACTURE ME” is this amazing mix of industrial and darkwave, as Kenny goes from monotone vocals through to singing. The synths are just perfection as they skim and glide across this track with a fabulous pop sensibility. In “ECONOMIES OF SCALE” you can clearly hear the HOSTILE ARCHITECT tell tale touches but even this sound is expanding. The beats never let up and just has these incredible moments of amazing electronic noises that make you wonder how Mitch has wrangled them out of a machine. The first single, released before the EP is the brilliantly, energetic “POWER OVERWHELMING” and this is the GOLD MIX and it is a bloody amazing track that pumps along at hair singeing speed at times.
Oh yes, welcome to the “TERMINAL GRIND“, which is all stellar synths twittering at you with murderous intent in this instrumental piece. All hail your overlord, the HOSTILE ARCHITECT of techno delights. Maybe inspired by the Australian yearly heat we have the expansive “BLACK SUMMER” where the ‘Sky’s onfire and so am I‘. There is something scintillating and spine tingling about this track that makes the hairs on the back of your neck raise up. Those that have followed the releases will know that “HOSTILE THEME” was on the LOWLIFELIFE album and now there is the NYTESHAYDE RMX, Roger Menso being Nyteshade, who also did all wonderful mastering. This is the metal industrial version you never thought you would hear. Wow. I know this song so well and this was just mind blowing to hear it done this way.
“REMANUFACTURE ME” just blew me away, possibly my favourite number, from the beginning and there is not a mediocre track on this EP. Not one. Kenny always fills his music with movement and you can see his evolution of the character, the HOSTILE ARCHITECT, in the evolving sound. There is definitely some synthwave/darkwave creeping in and it sounds amazing. Mitch is a really creative and talented musician and it shows in how he crafts his tunes, so I am hoping more people pick up on this project and spread the word that the HOSTILE ARCHITECT is asking…….. IF THIS IS SUCH A BRAVE NEW WORLD WHY DO YOU SEEM SO SCARED?
April 1st saw the release of the single “Your Last Kiss” from VVMPYRE, which features both the vocal and lyrical talents of Boston based musician, Maverick.
Maverick is going to beguile you with her vampiric touch, which may be your last. Her vocals drip promise and sexual delight to an electronic backdrop of beats and synths, with that occasional interlude of horror inspired organ/harpsichord.
VVMPYRE are threatening us soon with a good time in the form of an album. With the connections he seems to have in the industry, I can see it being a blood suckers favourite dance track.
Berlin based, Paradox Obscur, are soon to drop a new album, MORPHOGENESIS, on May, 6th but the first single has been lifted, called “Animal Reactor“, out on Metropolis Records. A video directed by Sheng-Yang Su in what looks to be in one take, has been unleashed, which to my mind is very much in Paradox Obscur’s style.
From the very beginning this grabs your attention and you feel it in the pit of your chest. There is a brilliant array of electronic sounds that assault your senses and make you want to move your body. Fingers of synths drag across your senses in a scintillating fashion.
The duo from Paradox Obscur, Toxic Razor and Kriistal Ann, pride themselves on playing everything in real-time, which means no sequencers and the like. A cross of synth pop and dark electronic music which culminates in an absolutely delightfully danceable track . Bring on the album!
Michigan based Lazer Station, released the album Skies Of Rust on the 25th of March, 2022 which is out on the Brutal Resonance record label. According to what is on Bandcamp, ‘all songs written, performed, produced, mixed, and mastered by Lazer Station in The Void’. Where is this Void and how do we get there plus most importantly, if you are in this Void, can anyone hear you scream?
The beginning of the title track, “Skies Of Rust“, is like floating on synths before the guitars pull you back, to something that seems a little more serious, though, it does still doesn’t feel bound to the earth. “Corruption Of Society” kicks in and now we are going somewhere, with that flow of electronics that passes though from ear to ears and makes you bob your head in time to the music. Such an 80s tone to “Watching The End” which features UFOWitness…. a bit like the original Terminator soundtrack, where not all is well in the world. There is the desolation and urgency of “Jackals” that leads into the guitar distortion of “Circuits Of Life“, that ebbs and flows.
The techno influenced “Technocracy” seems above everything and so clean, while “Population” is a track that is tenuous, with the impression it is slipping away. A seething undercurrent of guitar is the base for “No RespectFor The Deadly“, “State Of The Art” which features UFO Witness again, forges ahead in a futuristic manner and the oddly named, “Skulljacker” definitely is a track to get the blood moving. The last two tracks are bonuses with the first being “No Hope” which does have a certain desperation to it as it valiantly goes on and the original mix of “Skies Of Rust” that is more like a dream, waiting to take flight and that guitar kicks in much later.
For those not offay with Lazer Station, they are a purely instrumental project in the cyber industrial genre and they use electronic music to invoke science fiction story lines. They give the synopsis for Skies Of Rust as basically a world where greed and corruption has poisoned the planet, killing off swathes of the population and those that are left are huddled in cities, awaiting what might be their doom. A sci-fi story for now, that may become fact in the future. Even if you don’t know the premise, there is nothing stopping you from simply listening and absorbing the flow of music, admiring the musicianship and enjoying it.
Well….apart from some stellar remixes, we haven’t heard anything new from HOSTILE ARCHITECT since the debut album and what a debut it was. After speaking to Mitch Kenny (he whom is hostile), I have been told that the new single. “POWER OVERWHELMING (ALPHA MIX)“, is heralding the soon to be launched EP. You can find the single on the Bandcamp page of Brutal Resonance as it was released on March 18th, 2022.
Yep those dance beats just get to you and the wonderful thing is that Kenny always keeps certain tones and sounds consistently in his tracks, like a fingerprint. Oh yes, the ARCHITECT is all about the destruction with the idea that destruction and eradication causes two of whatever to become one. Intense and amazing.
It is a great dance floor single and if this is any inkling of what is to come, well then, damn it the EP is going to be stonkingly good. What also is really cool about this release is that Brutal Resonance in their wisdom, give you the opportunity to purchase this single on postcard vinyl. When I was a kid, you could get magazines with a floppy freebie and this is pretty much the same idea, as it can be sent to you via the post for free rather than a tape, CD or full vinyl, which is really neat and a bit of a collectors item. Sure the quality might be a little lo-fi but that’s half the fun and you still get to download it as well.
Not many musical acts can say they have continuously been creating and performing for 40 years. ATTRITION is one of those groups that have weathered the British music scene since their evolution in 1980, to become a force spoken in hushed tones, passing from an electro/industrial band to being something legendary within the scene. Martin Bowes had been at the helm consistently, throughout all the band changes. He was approached by Sleeper Records to release a special vinyl album to celebrate this milestone. They decided to pick music from the period 1986 to 2004, as this music has never been released on vinyl until now.
This compilation is named A Great Desire, containing ten tracks that can be found on a variety of albums which were all originally only released on Compact Disc, which was crushing the sales of vinyl by the end of the 80s. There are a selection that includes the wonderfully brass filled and brash “To The Devil“, the delicate and sinful “Acid Tongue“, the sexy “Sister Teresa” and the experimental and extraordinary title track, “A Great Desire“. To that end, Martin Bowes spoke to us about the new album and the past, present and future of ATTRITION.
Welcome to the rabbit hole that is Onyx, Martin Bowes.
Thank you for having me!
Did you ever foresee ATTRITION lasting more than 40 years and still making relevant music?
I don’t think I really thought that far ahead in 1980! And I still often get the feeling I have only just started in music… which propels me to make the next album or shows or videos or artwork…. I write music for myself… a cathartic thing… so the relevance I feel is only ultimately for me… but I know other people get something from my music and that makes me smile…
ATTRITION started in Coventry, your home city, which you have never really left and have your studio, The Cage there. Until the 90s, it has a been a city that bore the scars from the Second World War. Do you think in part this has been a catalyst for the sound and imagery of the band?
Well I arrived in Coventry as a 5 year old in the mid sixties, my parents moved here during the post war car manufacturing boom town era. I saw it falling apart in the eighties when the factories closed down (becoming a ghost town, as the song says) and after the first ATTRITION album in 1984 and first european tour (with the Legendary Pink Dots that same year) we all uprooted to London for a couple of years… after which I moved to Holland for another couple…. Coming back to Coventry in 1989. I think the industrial decay of my home town has definitely had an impact on the sound of ATTRITION, but it is also a very historic town…thankfully being restored these days… and that love of history has always been with me too.
Could you tell what influenced you into starting ATTRITION and how the band began?
I was blown away by punk rock in 1977…. It was there for me at just the right time…what an angry teenager needed… helped make sense of the nonsense I could see around me…. And it still does. I had absolutely no musical skill or knowledge but needed to get involved in this… so in 1979 I started my punk/post-punk fanzine “Alternative Sounds” , writing mostly about the scene in and around Coventry at the time, which was a wonderful scene… the Specials and Two Tone being a very famous part of it but there was so much more…. I did 18 issues and a special for the BBC TV Something Else program at the time. In 1980 I finally started to mess with recording sounds and instruments and a fledgling ATTRITION was born…. We played our first few shows in December 1980 as a kind of anarchist/post punk guitar, bass, drums and vocals line up…After those shows we soon started to trade in guitars and drums for synths and drum machines….
February see the release on vinyl of A Great Desire (1986 – 2004), which is a collection of songs from that time that that were released on CDs. It was around 1986 when the CD was coming into vogue and many said that vinyl was nigh. What inspired you to do this release and is it satifying to see these tracks going to the classic and dare might I say, beautiful vinyl?
We have started to have some new vinyl releases or reissues and we were asked by LA/Berlin based label Sleepers records to release this vinyl… they actually chose the track listing which I found interesting as I always do it myself and it was good to have a different opinion. Its wonderful to have music released in any format but of course vinyl is very special…. They have included 2 posters with this too which is something you can only do with vinyl!
You remastered all the tracks at The Cage Studio. Was it a good feeling to wander down those musical lanes of memory and was it a big task to do the remastering?
I have a large box full of all the old DAT tapes from that era and it didn’t take too long to track down the original mixes and master them specially for vinyl this time… I’m really pleased with how they turned out… well I master music here almost every day so I’ve had enough practice by now! Its always a strange but ultimately nice experience… like looking through old photographs or diaries…. I’m happy with the past….
Was there anything that you would have liked to change or did change?
It was more just getting the old recordings to sound as good as they can… and have recordings from different eras and studios sit together well…. I think it worked!
You also run the record company Two Gods which was originally created to release the ATTRITION albums. Since then you have opened up the label and put together some rather interesting compilations. What does running Two Gods mean to you personally?
Yes I started the Two Gods label (taken from the song of the same name) in 2006 when I was releasing music through a larger distributor … so it was all the old ATTRITION albums, and some live and compilations or remix albums at first…I then took it further and digitised/mastered a lot of old recordings from cassette etc for digital only release… it made sense for the recordings that didn’t warrant a physical release but I still wanted to get out there… I expanded this for side projects like ENGRAM and took on some other bands for digital only release… that part was an experiment and I didn’t have anywhere near enough time to market the other bands…I’d thought of it more as a collaboration using my networks… so after a few releases and label samplers I decided to take it back to ATTRITION only and give me more time for me…
Since you released Death House in 1982, how do you think the sound of ATTRITION has changed over the years?
The sound has always evolved and changed…and there has always been two sides to the sound… a more upbeat, rhythmic side to ATTRITION, and I have also been interested in sound tracks… as a visual artist origionally I still see music in terms of pcitures, of landscapes… so I relate to soundtracks… This Death House was the first soundtrack we ever did… in amongst all the “strange” experimental electronic songs we were mainly recording… It was reissued on vinyl too last year and we finally got to perform it live… I got the original line up together for that and we performed it as “Death House Variations” with a new take on it…
Just before ATTRITION came into being, there had been several waves. Glam rock, followed by punk which then morphed in the post-punk. Yet, under all that was this odd electric style being pioneered in Britain by the likes of Cabaret Voltaire, Throbbing Gristle, Clock DVA etc. What bands or music inspired you in your youth?
So many… I first got heavily into the glam of Roxy Music, Marc Bolan, Cockney Rebel, and Bowie of course…then I got into rock n roll in that boring period for new music of the mid seventies… then Punk totally captivated me… politically at the very least…post punk of bands like Kraftwerk, The Cabs, Magazine, PIL and Joy Division influenced the early ATTRITION sound…and then over the years I have taken in more and more influences… as much from life itself as from art….
Do you remember the first live band you ever saw?
I remember it well…it was The Stranglers here in Coventry in June 1977. A good time to be alive.
What acts or bands do you listen to now or find enlightenment in?
So many from the past still…I still listen to lots of old punk records… love The Fall… and over the years I got into classical and neo-classical… and bands like The Prodigy and drum n bass and rap from bands like Public Enemy …I get to hear so much new and “new to me” music in my studio all the time…. It’s all good.
I noticed on social media that ATTRITION has been featured as a exhibit, with flyers, posters and such things in Coventry. How does it feel knowing you are now woven into the fabric of that city?
Coventry is the UK City of Culture 2021/22 and I have been a part of that… my fanzine was featured heavily as part of the Two Tone exhibition here and as part of a Coventry music mural in the town centre… was great to see a photo of me up there… I offer to take anyone to see it when they visit… ATTRITION has featured as part of a Coventry music scene of the early eighties photo exhibition (we played a show as part of that too) and I had some music commissioned as part of a City compilation of bands… Despite living here in Coventry I never had to much to do with the place musically (I had so much of the world to get to) so its been nice to have the recognition now.
You did the mastering for the Thanatos album Covered Country. I am still trying to think of payback to inflict on a certain Kiwi that tricked me into review it (country and I don’t mix). How did you find listening and mastering this genre?
Haha! That’s my old friend Pat Ogl! He used to work for our old US label Projekt back in the nineties and we always stay in touch…. I love his songs! I’m also a Johnny Cash fan so give it a few more plays, it will grow on you!
I know you do a lot of mixing and mastering for others. Has covid affected how you go about playing and promoting with ATTRITION?
Well between Covid and Brexit we haven’t been able to play abroad since we went to Tokyo in December 2019… have been playing some more low key UK shows recently so I’m hoping things get better again soon…I am used to touring all over the place (we have played on 4 continents so far) so I’m missing all of it… I know its been the same for so many bands… promoting isn’t too bad, I can still do that in other ways… and for my studio, I’ve actually had more music sent to me to mix/master than ever, as more bands concentrated on recording.
What plans lay ahead for Martin Bowes in the future and what shall we hear next with ATTRITION?
My long delayed new album, The Black Maria… will be finished soon and out later this year (planning vinyl of course) and I am also planning to release a lot of the older CD only albums we did in special limited runs…. And then I’ll be onto the next album and hoping to get out to play near you sometime soon!
Thank you for so kindly for talking to us.
Thank you for the interview…. Martin Bowes, Coventry, England. February 2022
Feeling in the mood for some electronic beats in an 80s style? Then we have “OutAlive” by LikeWhat. This New York act released the track on January 11th, 2022 and I was reliably informed it was created on an ipad with a guitar. I honestly don’t know much more about this project yet…..
There is something so reminicent of the wonderful TobiasBernstrup. It could be the singing style and annunciation of the vocalist. The rhythm with the synths are stalking you and will find you wherever you try to hide. The guitar chiming in is extra foreboding as you won’t get out alive.
Electronic music will always lend itself to an apocalyptic vision, concealing and on the run from an unnamed, yet terrible foe. This is definitely one of those tracks that you think, at the end that it finished far too quickly. Damn it, we need a longer remix!! So you can guess by that statement I may have liked it quiet a bit. Get your darkwave on with LikeWhat and “OutAlive“.
Vlimmer, German post-punk/electronic project for Alexander Leonard Donat, has released a split single comprised of “Erdgerurch” and “SpaceDementia” in January, on Blackjack Illuminist Records, which is also run by Donat.
“Erdgerurch” is a wonderful post-punk piece that has a retro feel with the sublime synths and deep vocals, matched with the drum machine that is spine tingling. Every so often you hear a fuzz of electronic noise creeping at the edges and this feels so warm and familiar that it is instantly likeable. The beginning to “SpaceDementia” is surreal and continues in that vein with the vocals. It is a bit like being on the deck of the Star Trek Enterprise, if they were a bit dark and flying to their doom. An impression of infinite space to be lost in forever as it wavers between soft orbits and growling flight. Originally written by Matt Bellamy and performed by Muse, Donat sings in his native German and it loses none of it’s impact, sung with such passion.
I really enjoy it when Donat sings and especially without electronics distorting his vocals and this is no exception. From the beginning, you are immersed straight into “Erdgerurch” and there is no escape from this beautifully crafted song as it captures your soul in sway while there is a crystalline quality to the cover, “SpaceDementia“, a reflection in the obsidian black of the expansive universe.