Mobile phones have become a staple of modern living. We constantly check them and break into a cold sweat when we cannot find them. New Zealand’s FrauKnotz, explores our dependence on social media, though the single “Cellular,” as more and more people live their lives online rather than in the real world, and where popularity is the acknowledgement of others on these platforms.
There is a delicacy about “Cellular,” and maybe it is something to do with the lack of a rhythm section, relying on the piano to carry the music, but it is also in the vocals, a blatant honesty. You can hear the British early 80s, post-punk influence in the track, where there is a purity of simplicity and passion, giving the song a core of undeniable strength.
MizaanTurner is a fourteen year old dancer from Taranaki, and it was they who choreographed the video for the single, making the video for FrauKnotz, aka LaurenNottingham, an alluring affair. Mobile phones are a marvel that have definitely changed a lot of things for the better, and yet, as “Cellular” soulfully points out, it has also caused isolation, anxiety and changed the way we see ourselves in relation to the world..
ESA (ElectronicSubstanceAbuse) met MoaanExis while playing a show in Prague in the beginning of 2020, just before Covid-19 shut down the world. Out on NegativeGainProductions, “Spit/Spite” is the end result of the UK’s JamieBlacker (ESA) and France’s MathieuCaudron (MoaanExis), going head to head in a battle of the industrial power noise versus industrial punk. The plague has come and kind of gone, but now we have been hit with a much better outbreak in the form of this split single.
“Spit” does not let up with the energy, pushing you higher and further with an intoxicating mixture of scintillating synths, techno styled rhythms that max out the bass and duelling vocals. Even in all of this, I hear hints of a Middle Eastern flavour to the music creeping through.
Yeah, from the beginning of “Spite,” you are already left a veritable shell of a human, drooling over the abrasive rhythms that pound into your chest. The two vocalists taking turns in eviscerating your ears to the pounding beats and off kilter electronics, setting your teeth on edge. Magic.
Who was the winner in this battle royale? The answer is easy…us the listeners. Both tracks are fucking awesome. Crunchy textures, beats to rupture organs, and enough angst to wet the panties of any self-respecting industrial noise purveyor. ESA Vs Moaan Exis have me just me wanting more.
Who do you believe and what can you trust? Wars popping up around the world and now the revamped hostilities in the Gaza Strip…. you have to ask, when does the killing stop? Dystopiarch is the new project for MatthewMcIntosh, whom you might know from ACloudOfRavens, and the debut single is “LikeHell.” The proceeds of the single will be donated to civilian victims of the Middle East conflict through International Rescue Committee.
From the opening speeding rhythm, combined with the pulsating synths, are simply attention grabbing. McIntosh’s vocals are strained and at times breathy, compelling you you to listen to the lyrics, which are about modern living, where we have lost contact with the natural world, preferring so see perfection on a screen, and just let the Earth burn. A literal hell.
There is a wonderful juxtaposition between bright and dark synths, the driving rhythm that thumps along and those rather Imperative vocals, that make up “LikeHell.” The style of music invokes thoughts of cyber-industrial with post-punk leanings, due to the electronics that play against each other, creating both feelings of claustrophobia and euphoria. It is catchy, thought provoking and proceeds are for a great cause. Those alone are great reasons for people to get behind this Dystopiarch track, for life is not meant to be “LikeHell.”
Need a little extra spooky in your life since the aftermath of Halloween? Then we can offer you an extra bit of stalky stalker in the form of Ian James’s new single, “Come A Little Closer,” out on Blue FX Records.
Ah, the dulcet tones of James’s vocals creep up on you like a sexy time Jason Vorhees, with his favourite knife. The music conveys an electronic and consistently funky, going to get you honey buns attitude, rather than the old fashioned plinky plonky norm. So, “ComeA Little Closer” darling, and let Ian James croon sweet icy nothing’s into your ears. Lovely!
Out on InfactedRecordings, is the latest single “Harbour” from J:dead, where JayTaylor has enlisted AestheticPerfection and genCAB for remix duties. This is officially the last release for J:dead for the year 2023, but in 2024, we can expect the unleashing of the thematic EP ROOTS, which will contain seven original tracks, including “Harbour,” plus 8 remixes.
“Harbour” has this rolling flow whilst also laying down dance rhythms. An electronic melding of the many faces and personalities we are and show others, topped by the molten vocals of Taylor. The AestheticPerfection mix is filled with a bright jauntiness that the progenitor of industrial pop, DanielGraves is famous for, while DavidDutton of genCAB’s version is slower and darker, like you can feel the shadows enveloping you in a cocoon and only the vocals can drag you to the light.
The line ‘look hard and you will find me, lonely I will never be‘ doesn’t refer to multiple personalities but rather all the different facets that make us up as humans. We are not one thing such as a joker or the introvert, which would leave us as one dimensional aberrations, instead of the wondrously complicated creatures we are. As always, this is a polished track with two stunning mixes and if you want to know what you will be getting in the EP, then “Harbour” is an excellent place to start. I have already had the pleasure of hearing the original tracks and can promise that you are not going to be disappointed, yet that is for another day………..
Scenius are a dark synthpop duo, hailing from Leeds in the UK. Composed of UK producer SteveWhitfield (The Cure, TheMission) and French singer FabriceNau, they released their album LifeIs A Thing, back in May but we are going to touch upon the single off the album, “ChineseRoom.”
There is a simplicity to the track that makes it entrancing, almost dream like. The sound of electronics harken back to late 70s and early 80s acts like JohnFoxx, GaryNuman and German pioneers, Kaftwerk. Nau’s vocals are seductive and unhurried, with that French accent only enhancing the cool of track.
Together with the video for the single, I do feel “ChineseRoom” is a reference to heroin. The video is a party slowed down, where those participating in the drug use are only existing in the moment and Chinese rock is a euphemism for heroin, a la the Ramones single “ChineseRock.” I do love the throwback nod to past electronica heroes, but they have a distinct modern touch all over this track. You should listen to the “ChineseRoom,” but be warned, you may become addicted to Scenius.
It has been two years since a project called Voidant took flight, with the release of their self titled album. A deep love of music and experimentation, as well as a friendship across an ocean, brought about an electronic gem. UK based David ‘Wolfie‘ Wolfenden, guitarist of the iconic RedLorry,YellowLorry and CarolineBlind, from the USA, solo artist and lead singer of SunshineBlind, are celebrating their debut album with a remix EP, featuring other extraordinary musicians, fiddling with those delicate stems.
Kicking off with “Vortex,” this is ElenorRayner, front woman of New Zealand’s RobotsInLove, who has a knack of drawing beautiful, dark sweetness out of her remix projects and she does not fail to cause a quickening of your heart, as the barbed tendrils hook into your skin. CWHK is from SunshineBlind, and he has taken on the ephemeral “Ghosted” with the Brave or Silent Remix, upping the tempo and adding a very exotic feel to the track. The one cover on the EP is Love’s “7 and 7 is” and has been given the treatment by DannyC from 2Forks, a member of yet another famous US goth rock band, TheWake. The remix rocks harder than ever and yet has developed this disco/dance orientation.
I cannot think of a better bunch than the UK’s DecommissionedForests, who have taken the shamanistic “LaLoba,” into a cosmic realm, swirling and mystical, centred around Blind’s vocals. MaxRael of DecommissionedForests and HistoryOfGuns, has truly put the funk into “SGTruth,” and it is nearly trance inducing. The original “PhantomEx” was a very free form piece, that Wolfie has taken, creating the Birchremix, adding more guitar and rhythm, giving the bass filled track a heavier air.
“Writing these lyrics and vocal melodies was a cathartic practice of embracing sadness and grief. It’s all in there. There was no return. It’s terminal. There are no hopeful bits, it’s all goodbye. The vocals stand on their own, and those who have remixed the songs have understood that, in perfect alignment. That’s why I called it ‘Abandon Hope’, from Dante’s Divine Comedy: “Abandon hope, all ye who enter here” Give up and give in. Join with the heedless infinite.” – Caroline Blind
AbandonHope is a wonderful way to relive some great tracks, or if you are new to the music of Voidant, then submerge your ears in the myriad of styles and talented artists which could lead you to finding even more favourites.
We have been following the catastrophic tale of humans versus alien machines, unfolding in the musical exploits by MATTHART. The London based industrial musician and DJ, has released his latest single “DEEPDOWNCITY.”
Imagine living 6000 levels below the surface of the planet, a new shadowy world where humans have finally settled from the reach of the machines, trying to recreate what they had above ground. The guitar is there, building the tension, but the synths are the smooth heroes of this track, however the big surprise is the vocals. Not only do we have HART’s growls, but we get to hear the man actually sing, letting us hear his dulcet tones.
“DEEPDOWNCITY” is a something a little different from MATTHART, with its mingling of harsher industrial and retro synthwave, creating a wonderfully pulsating dynamic. The track portrays a cyberpunk styled domain where life is lived in the constant gloom, that is only broken up by the need for sleep and entertainment. One wonders what the aliens are up to on the surface and I am guessing we might find out soon.
PeakFlow are a darkwave duo from York in the UK, and their debut single “RunningToYou” was released in June, but who are we to hold back on a great track?! Not I. James and Jools have said they draw inspiration from post-punk icons such as Echo and the Bunnymen, The Cure, and Jesus and Mary Chain.
From the beginning keyboard notes, this track promises to become stuck in your head, especially when it comes to the chorus. The vocals are clean and light in comparison to the wonderfully heavy bass. The storyline is from the perspective of two people, where one is still in love and the other no longer feels any empathy for their lover. Honestly, this is such a catchy tune and should really be something that graces the dancefloor with other songs such as JoyDivision’s “Love Will Tear Us Apart.”. Just saying, if people give PeakFlow a chance, then “Running To You” might become a classic.
September was a big month for some really good electronic music and Sweden’s Hatif, most certainly delivers some quality releases, which leads us to the new single “Heredity.” Under license to the label Town&TowersRecords, the duo of MarkusMajdalani and JohanEckerström, seems to not currently have an album attached to this new track.
Photo by Daniel Kwon
The electronic clicks take up a flamenco style rhythm and Majdalani‘s singing is smooth and entrancing, then it kicks up an extra notch of cool with the harmonising. The synths move from light to dramatic keeping you on the edge of your seat, while the programming spasmodically still clicks and whirrs.
I’m going to be a bit cheeky and say Hatif could be channelling the spirit of another classic Swedish band Covenant, and that is not a bad thing with the harmonies and building electronic textures. Hatif have said their music is easy to listen to, and I have to say I completely agree with them. “Heredity” is part of the growing legacy that Hatif are putting down.
Onyx Music Reviews 