French duo, The Shadow’s Gone Out, are sounding the Final Alarm, an EP released on the 23rd of September. From Tours, Nourtier Julien (drum, samples) and Enault Anthony (bass, samples) are bringing the instrumental industrial to you.
Sped up ragtime frivolity, followed by industrial tribal rhythms introduce you to the single ”Pills“. It is angry and voluminous, see-sawing with bridled near contempt. Welcome to the crazed circus of “Sous La Pluie” which means in the rain, as it climbs from peak to peak, gathering strength with the military cuts pervading the rising pressure. “Final Alarm” is the last track, full of foreboding and the promise of annihilation, klaxons calling out and military chatter join the ferocious drumming and underlying bass.
Always nice to hear a real drummer in the industrial scene, as it adds a richer tone to the music, especially when joined with heavy bass. There is a strong military feel induced by the samples as The Shadow’s Gone Out seems to be issuing an ominous warning. So beware the Final Alarm.
Riveting Music are a US label, whom have decided to make a stand and with the help of a whole bunch of artists, created a compilation of twenty-one cover songs, all previously recorded by powerhouse women of pop/rock. The recording of this compilation is in reaction to the overturning of the historic Wade Vs Roe and the degradation of a woman’s rights to have autonomy over her own body.
There are three singles off the album consisting of The Joy Thieves robust kick arse version of Pat Benatar’s “Love Is ABattlefield“, Laurie Anderson’s “The Day The Devil” by The Blue Hour, which I think is much better than the original, and File Transfer Protocol with their rather stunning recreation of Eurythmics’, “Here Comes The Rain Again“. Of course there are plenty more musicians and their cover versions to encounter here and most of the song’s originate in the 80s, going into the 90s, so there is a chance to find music you do or don’t know, as well as checking out current electronic/industrial musicians.
All money raised will go to the Global Fund for Women but not only that, it is about raising the profile of this subject and saying that this new trend against the rights of women is not okay, because if this is happening in a first world country such as North America, then how long before other countries decide to go down the same path? My body, my life. So fucking Regulate This!
Melbourne’s Snog, with David Thrussell firmly at the helm, stole a place in our industrial hearts, from the first time we heard “Corporate Slave” back in the early 90s. Now in 2022, a new EP, Jaded has been released on the Australian label, Lightarmour Editions, in both digital and limited coloured vinyl. The track “Jaded“, was previously released on the album Eight Offerings ForThe Undead, but now you get to hear it remixed, with others, rounding the EP to six tracks.
“Jaded” is a bit like rant poetry but with an electronic twist. Thrussell airs his grievances about a world that had left him more than a little dusty. Hushed tones creepily balance over the music. Brisbane based, Nam Shub Of Enki remixes “Jaded“, with his style described as grimecore, though I like to think mad man let loose and having a damn good time. Nam Shub lays it down with his signature tones and enthusiastic rhythms. One last remix by Sir Real, of “Jaded“, gives us an almost darkwave feel with those synths mixed with a modern tribal beat, lulling you into a trance.
Oh my, it’s the “Spaetzle Machine” the DiscoMachine RMX!. As expected, one machine mixing another is going to result in a robotic love fest. The Morpho RMX of “The Sweet, Sweet Treacle (Of Surrender)” trickles through your senses, the electronics burying into your brain. Last track has a near magical aspect to it. The Theme to “The Great Reset” has never been released. Brooding and languid, it runs at its own pace, which highlight the brighter synths that meander. It reminds me very much of work the late Vangellis.
I might be a bit biased as Snog gave the Australian electronic and industrial scene a good kick, back in the 90s, showing that world leading quality music was not something just from Europe and the USA. Thrussell has been at the forefront of some pretty kick arse albums since then and this special edition EP proves he’s still forging ahead with some powerful allies.
The label Machina ad Noctem, is back with another compilation, inspired by author Philip K. Dick, called PDK II. As like the first compilation, this is a group of musicians whom have pursued their love of the science fiction, written by Dick, though the music they compose.
The beginning of “VALIS” by Edge Of Decipher, starts off hesitantly but soon grows in sweeping assurance, waking out of dream perhaps, into another plain of reality. Cumsleg Borenail gives us “Man Has Not Eaten God, God Has Eaten Man” is as quirky as the name suggests, synths like synapses sparking in a metaverse, unable to be contained by man or God.
A train has set the rhythm in “Second Variety” by Non Union, on a journey to who knows where, but it seems otherworldly and ominous, before we are met again by Edge Of Decipher. The track, “The Future We Create“, inspired by Ubik, speaks of stars, moons and whirling galaxies beyond ours. The experimental HyMettus Woods, bleeps, fades in and out of static in “A Scanner Darkly“, trying to find the rapidly fluctuating channel but constantly on the knife’s edge until the fuzz clears momentarily, rapidly gaining veracity.
The only track with vocals is Priestessdeath and their “Like Tears In The Rains V” with smoldering female singing that meanders like rivulets of water down a pane of glass, inspired by the Orient. A change of pace for Edge Of Decipher as the music becomes urgent and the synths are trying to catch your attention for “The Agentic State“. There is a movie like quality to this track which leads onto the final number, “Eye In The Sky” by Non Union, as the electronics reach out in waves, invading all spaces and detecting all.
The music is eclectic, electronic and often experimental just as science fiction is. The tracks are like points of light in a sea of literature and dark electronic music, bidding you to further sink into the worlds of Philip K. Dick with them. So I bid you adieu on your journey as you experience this new adventure with PKD II.
Chicago based BOUNTE released on September the 1st, the decidedly strangely named EP, THE GRAUPNERDICOTOMY. Now, you might say…hmmm, not the Brian Graupner of legendary Gothsicles and GasolineInvertebrate fame, who also runs Tigersquawk Records? To which we would say, indeed tis the very same Graupner of those very bands and on this very label….. and low there was much rejoicing for this union of BOUNTE’s Dean Dunakin and Brian of the Graupner.
Straight off the serial killer’s bat, we have “Acid Bath” featuring Gasoline Invertebrate, with the creepy whispered vocals of Graupner backed up by grooving guitar that somewhat invoke the ghost of early RageAgainst The Machine and some rather delightful electronics. In complete contrast is the second track “Tear ItUp” with its 8bit, industrial, glitching computer game feel but even better, Graupner’s far more glorious Gothsicles vocal persona (which is always amazing) and Dunakin’s deeper tones.
Tigersquawk Records is a acid trip of a label, with bands that are both eclectic and super fun, including the ultra busy captain at the helm of this spaceship, with especially comfy couches. These tracks are a credit to the musicians involved, BOUNTE utterly deserving a place in the galactic ark. And really after all this, what else is there to say but YEEEAAAHHHH!!!
Did you like the last single from Germany’s FabrikC and the UK’s j:dead? Did i hear you say yes?! Well, then we have a treat for you, as September the 30th, there is a new single, “Perfect Happiness” where we get to hear the lads getting down and heavy.
The rhythm is that of a laboured thundering heart beat, joined by the screaming vocals of Taylor, when he isn’t whispering his snarling discontent. The synths break out, through the vocals, prodding and urging on the cyclone of noise.
Thorsten W. D. Berger is the composer, while Jay Taylor penned the lyrics in this flying aggrotech track that is meant for the dance floors. Is there such a thing as “Perfect Happiness“? Only a fool would think so, or even want such a thing. But music is pretty close to pure joy, so get yourself some FabrikC vs j:dead.
MissSuicide is a one person project from Cologne of the dark electro/industrial persuasion. Demian’s (MissSuicide) latest EP is Herbivor, set free as of the 1st of October with guest artists. STAHLSCHLAG and GRENDEL.
A gypsy violin, ominous synths and a sound clip from Breaking Bad start the odyssey of “Persona Non Grata“. Dance beats enhanced by spinning synths. Like a tape in reverse, we are hit by the title track,”Herbivor“. There are dueling synths and the rhythmic signature feels like it is in constant flux, itching to fly free. “Präzisionsarbeit“, featuring STAHLSCHLAG, the maker of the rhythmic crunchy noises, just leaps out at you. Those static oscillations, tweaks and synths are great but the banging beats get the heart working.
“Ocelotte” is mentioned as a part of a video game sample and the track itself is dark and sharp. The GRENDEL remix “Herbivor” is most definitely geared towards the dance floor, with JD Tucker, tightening the synths and condensing to an almost science fiction flavour of sound. Sebastian Lohse (ex- Letzte Instanz, Die Feine Gesellschaft) does guest vocals on “De Profundis” which has been given the STAHLSCHLAG treatment. The remix has those tell tale sounds of Sünkler tweaking the track with his crunchy static, while Lohse’s singing is just the icing on the cake.
There are tracks on here that are going to to be club floor fillers but also, others that will truly tickle the taste buds of industrial connoisseurs. The mixture of styles between Demian and Sünkler, as well as Tucker, makes for very enjoyable listening. Be the Herbivor in the MissSuicide buffet.
This year saw Belgium project, Psy’Aviah, celebrate twenty years of music, with the label Alfa Matrix releasing a huge best of, called Bittersweet, that had been re-recorded with guest vocalists. On September the 22nd, Yves Schelpe, founder of Psy’Aviah, is asking “Is Everything Going OK?“, a maxi single/EP of the highly successful single “Ok“.
Huong Su takes on the vocal duties for “Ok” (rediscovered), so very sweet and sentimental, with classical instrumentation. After this version, the gloves come off, so to speak, as the HeiG trance mix takes hold, onwards and upwards, followed by the magical Miss Suicide mix, which is also guaranteed to hold a crowd on the dancefloor. There is the beautiful trance mix by LLM, Digital Factor with their slow burn electronic mix and the After Dark remix from Am Tierpark that builds a world of lightness encased in darkness plus some stellar synths. But wait there is more….. Pulse Mandala remixes into an ethereal glow, the trippy Nethermerebreakbeat remix before the ALUCVRDbreakbeat mix that glitches and lunges with a Middle Eastern soul and then there is the stripped back version with HuongSu and violinist Irina Markevich.
I am not even going to get into the 12 inch remixes, of which there three. Yes, you are going to get bang for your buck on this single/EP. “Ok” has been lovingly handled by each musician, shaped into tracks to ignite the soul from heartbreaking sensuality to dance floor fillers and it started with a song from Schelpe’sPsy’Aviah. Good music does not age and this is a corker of a release.
The name Mona Mur has been associated with the German industrial scene since the early 80s. September the 30th sees her new album, Snake Island released on the GIVE/TAKE label and Mur amping up the guitars with guest artists such as En Esch, former member of KMFDM and PIG. So, we asked a few questions about the new release.
Welcome to the dark heart of Onyx, Mona Mur, where we can commune with cups of hot beverage and ignore the lacy spiderwebs.
Cheers!
You are unleashing your new album, “Snake Island”. How long was this album in the making andwhat lead up to its creation?
I was interested in playing really heavy guitars and make this an album. My friend Goldkind supported this idea by sending me some exciting electronic textures he had created. They were just perfect to play guitars on. I added strings or synths where necessary to create harmony. Vocals were the last thing I did on the tracks. So, we were sending stuff back and forth. We are already a dream team, since our first mutual album, DELINQUENT from 2019. I know Goldkind since the 80s, he was one of the first punks in Hamburg, where we both are born. He was a frontman and trombone player in his own band, then quickly became an accomplished producer of some hits over here in Germany. We had lost track of each other, then got back together in 2017 to create DELINQUENT. He is a kindred spirit without any doubt.
Was covid something that instigated the making of the album or hindered it?
To be honest – I am spending a lot of time in my own recording studio KATANA which I built over many years, doing productions for myself, for other people and for films and games. Collaborating with other people certainly became more difficult. Yet, I am used to work online, in teams. So – I was able to adjust and not so much changed for me. Of course, almost all live concerts were cancelled – which is a drag. Still, I am happy as long as have my studio where I am in charge and can do what I want.
You have said that the title “Snake Island” was a tale you heard of. Could you please tell us a littlemore about this story and how it has influenced the creation of your latest work?
I came across a story about a small island off the Brazilian shores, where twenty-thousand snakes dwell— deadly poisonous vipers. They sleep nine months, then awaken only when a certain species of bird stops by to breed. So, the snakes eat them and survive. The snakes are everywhere.
They’ve killed two lighthouse keepers so that the lighthouse is abandoned now. I imagined myself living on that island, maybe even as one of the snakes. I found this a very strong and malicious metaphor , it helped shape the energy flow of the music I was about to create, or rather, the painting.
The masterful En Esch (ex KMFDM and Pigface) also features on the album. Can you tell usabout your friendship with En Esch and how he came to be on the album?
En Esch is one of the greatest and most unique artists I ever had the pleasure to meet. I actually know his former band KMFDM since October 1985, when they opened for the MONA MUR Band in Hamburg. You can find some footage of this live concert as well as some funny backstage stuff on Youtube. Much later, in 2007, I met En Esch when he came back from the States to Berlin. We then put out two albumstogether as MONA MUR & EN ESCH. His musical skills in many realms are universal and comprehensive, his dedication is limitless. Although SNAKE ISLAND is a MONA MUR solo album, it is always great to have him contribute something – as the icing on the cake. Like his fiercely and immaculately played guitar take on the song RAKE.
Gary Schmalzl plays electric guitar for you. What is it like collaborating with Schmalzl?
Schmalzl graced me with the wicked solo on Ace of Spades. He is another beloved friend and absolutely outstanding guitar player who has been working with many great bands and artists, like Thurston Moore, Jingo de Lunch, Bela B. and more – and he is always up for playing with me. His tone is one of a kind, his technique unparalleled. You cannot ask many people to play an adequate ACE OF SPADES solo.
How important was it for you to have that heavy guitar sound?
As I said, I wanted to play a lot of the guitar myself this time, and my style is kind of slow, raw, huge, heavy, doomy. It was the driving motor for the whole album. It seems my lave stream of expression has found another outlet.
There is the cover of the Motorhead track “Ace Of Spades”, so was Lemmy Killmeister a musician you looked up to?
Hm, I not particularly looked up. But, I admire him, as probably the most uncompromising Rock n Roller ever. Actually, I fell in love with MOTORHEAD only recently. But ACE OF SPADES for me is an exceptional song, the pure raw energy, the lyrics, the attitude. There are awesome live videos on Youtube with all kinds of line ups, I love to watch this loud at night, when I relax from a long day in the studio. “THE PLEASURE IS TO PLAY, MAKES NO DIFFERENCE WHAT YOU SAY” is just a killer statement for me.
This new album is described as Mona Mur going back to her industrial roots and you were linked with Einstürzende Neubauten. How has industrial music influenced you musically and especially “Snake Island”?
When I started out in 1981, I was obsessed with listening to THROBBING GRISTLE and LAIBACH. Also, my close friends were FM Einheit, Alex Hacke and Mark Chung of “EINSTÜRZENDE NEUBAUTEN”. We hung out together, and one day I went with them to their rehearsal space in a tower in central Hamburg. I had been singing and playing instruments my entire life, since I was a small kid. I had a strong urge to create. I knew the time is right, to help shape this kind of music movement myself. The rest is history.
Jon Caffery does the wonderful mastering, known for his production work on music for suchprojects as Einstürzende Neubauten, Joy Division, Tubeway Army and Die Toten Hosen. What isyour history with Caffery?
Jon Caffery is a long lost and found again friend. We had met in the 80s when he was in the studio with Neubauten and Abwärts and other collegues I was hanging out with. I had back then, with the MONA MUR Band, worked with Raymond „Nainz“ Watts as sound engineer. (actually, these recordings also come out soon, on Vinyl, in December). But for SNAKLE ISLAND: I only found out now, that Jon always had wished to work with me . So, luckily , this happens just now.A gift.
Do you have any favourite tracks off the album and if so why?
No, really, I love that the album has a flow of its own and you can listen through it from A to Z being really absorbed. This is what I want to achieve.
Vocally, I can hear a maturing of a singer. Do you feel you have changed vocally over the years?
Everything goes more effortless than ever, I just precisely do what I like. Very often, I use first take recordings, sometimes I even do not write down the Lyrics before recording. I am totally uninhibited, much in contrast to my early years.
Mona, you are heavily linked to the early industrial days with bands such as Einstürzende Neubauten. What was the scene like back then for yourself in West Berlin?
Actually, I am from Hamburg. So, I was in Hamburg AND Berlin, moving back and forth, crossing the Iron Curtain many times. The scene was small, exciting, elitist, excessive, loud, raw, original, intense, life was fast, the world was bleak, the big cities our play ground, no risk, no fun. I immediately loved it and became a driving force in it, as a fish in water. So much space was there to create real new, original art.
What do you think of the modern German industrial scene?
I have no idea whether there is such a thing in Germany. I rather see something like this happening in the US, like the revival of the Chicago scene around WAXTRAX ! and the Cold Waves Festival for instance, and I had a great time touring in the US and Canada between 2010 and 2015, playng WAXTRAX! Retrospectacle in Metro Chicago in 2011 as a guest of En Esch, Raymond Watts and Günter Schulz. Hope I can follow up on that. So, Germany, no idea. Also,, I do not think so much in “scenes” anyway.
Who were your musical influences when you were young?
Black Sabbath, Patty Smith, Throbbing Gristle, Laibach, Siouxsie and the Banshees, Lydia Lunch.
Are there any modern acts that you like to listen to or find inspiration in?
I love Fever Ray, Karin Dreijer being a stunning artist. I love IF I HAD A HEART which became title song in VIKINGS, so I had to watch 89 sequels of this. I always play guitar to „RED TRAILS“ – her most beautiful and heartbreakingly painful song. If she ever needs a guitarist on stage, I ll be there. What else ? DIE ANTWOORT has some cool tracks. And HAFTBEFEHL, A Kurdish/german gangster rapper and in the same time melancholic music poet from Offenbach am Main, with a killer sound production.
Will you be doing a tour for the album?
I look into touring the US in 2023.
If you could choose any musician (dead or alive) to record with, who would that be and why did you choose them?
Play guitar for Karin Dreijer.
Thank you so very much for gifting us with your time!
Looking for a bit of retro in your electronic music? The look no further than the newly released EP, EP.01 from RetCon. Jason Hollis fully admits to being kind of stuck in 1988 and we say that is kind of cool.
The sound for the single “New Day“, is definitely rooted in the 80’s, with analogue synths that chirp along and the vocals of Jason Hollis, floating in the electronic aether. The threat of nuclear weapons is the highest it has been since the Cold War and the pulsating “Blink” is about this imminent demise of the human race by its own hand, while “First Light” is cool and trance like, urging the oppressed not to give against the might of crushing enemies. Last track, “Xcommunication” is eerie in its stalker like persistence and whispered vocals.
Musically, there is something that tells me that Hollis was very influenced by Front 242. Me thinks there is a corelation to the cool beats and unhurried electronics. There is a lot of care put into this EP and a love of certain era but also within, is a message that in these times of global instability, one should not become complacent.
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