Tag Archives: Industrial

Interview with Street Sects

Street Sects made a name for themselves in 2014 with a few intense singles, but now with the release of their debut full-length “End Position” the shit of humanity has hit the fan once and for all and the skeletons are marching furiously out of the closets. The band’s incorporation of classic Industrial, Punk Rock and Power Electronics seems to come straight from their suffering hearts, and demands a chat.

Hello! Where are you currently writing this, and how has the day fared you so far? This half of the year has most likely been eventful for you, with the release of your masterpiece “End Position”?

SHAUN: I’m writing the answers to this on a notepad while waiting in a Firestone Auto lobby. Thinking of the eventfulness of End Position, I’m now reflecting mostly on the west coast tour we just finished. However, the best part of all of this, for me, has been the people writing to us to personally say the record resonated with them. That has given me some happiness, as well as some great sadness for all the years I wasted on bullshit.

LEO: I’m in Dallas right now, visiting my girlfriend. The day has just begun. And yeah, things have definitely been busy since the record came out. It’s been exciting, but I’m hoping things will be even busier next year. I’d like to think that our “masterpiece” has still yet to be written.

You are formed in Austin Texas, creating music that hasn’t really been in the minds of wider audiences, besides the nostalgic and retro-obsessed Industrialists and Electro-punks. How is the local scene, or the scenes of the US for that matter, when it comes to stuff like yours?

SHAUN: The local scene is comprised of many genres, from Country Western to Metal to analog Electro to deejay culture–and then everything that goes with three major music festivals per year. There isn’t a scene for the music we’ve written in particular, but there are many talented, experimental Electronic artists in Austin.

LEO: There’s a pretty vibrant dark Electronic music scene here in Austin. Most of it is either Noise or analog synth based stuff, but there’s a small handful of artists who exist somewhere outside of those two camps. We don’t always fit well on most bills around here. That seems to be the case on tour also. Because we don’t fall neatly into a category, we tend to find ourselves on all different kinds of bills, which sometimes works out, and sometimes backfires. For every one person that seems to dig what we’re doing, there’s definitely at least one or two who can’t fucking stand it. That’s great in a way, but it makes finding the right crowds who appreciate what we do a bit more of a challenge. I think a lot of people who frequent dark music shows have a pre-disposition of what they expect certain genre artists to sound like or adhere to, and we don’t really fall in line with that.

Personally, I like to think of genres as being colors on a palette, as tools or resources to be used in service of creating something unique, rather than as established categories to be filed under. Other people came up with these ideas of genre. As singular concepts genres are limiting and repetitive, but if you think of genres as being historical data or raw materials to be explored and exploited, it can be energizing and inspiring. I’ve seen people online arguing about our record, and whether or not it’s Power Electronics, or Industrial Metal, or Gabber-Noise or countless other goofy genre tags… I think some of these people might be disappointed to learn that we seriously couldn’t care less about any of that bullshit. We don’t sit around listening to Industrial music all day. There’s a lot of artists from the genre that we dig, of course, and we certainly respect the legacy and craft of the early innovators, but we aren’t trying to carry a torch for any of that stuff. Industrial music is an inspiration for us, not a blueprint.I probably listen to more seventies Rock than anything, because I like the production from that era. The attention to detail, the three dimensional warmth. The entire year or so we were working on End Position I don’t think I listened to much of anything, regularly, besides Street Sects demos and Roxy Music. Part of that is because I get ear fatigue from working at a venue and listening to the demos Shaun sends me, but part of it is also because I’m not trying to steep my brain in heavy Electronic music constantly. I don’t blast Death Grips and Skinny Puppy on my way to work. Those guys are great, but I don’t find myself in the mood to listen to that kind of stuff very often. For me, Street Sects is very much about creating art for selfish reasons. It feels good to create and perform… It scratches a certain kind of primal itch. It’s not about writing a love letter to our predecessors.

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What other styles of music have you been into, besides the obvious influences of your music? Have you been or are you currently active with other bands before Street Sects?

SHAUN: Leo and I have played together in a few bands before. Mostly it was guitar driven music. Guitar was my primary instrument for a long time. I started taking lessons around eleven years of age. Growing up, I listened to a lot of Rap. Kids in my neighborhood would get together to play basketball and play on cassette all the Deathrow Records stuff, and then Wu-Tang. Later on I got into Metal, followed by Jazz.

LEO: I was born in 1980, so as a kid I was obsessed with MTV. During grade school it was everything to me. MTV, comic books, and video games. My dad was an ex air force guy who’d held onto all the records he’d bought while he was in the service, traveling the world, and he played me a lot of great stuff when I was young. Black Sabbath, Frank Zappa, Steely Dan, those are some of the ones that stuck with me. He wouldn’t let me use his record player when he wasn’t home, so I would just flip through his records and obsess over the album art and lyric sheets when he was at work. I had a cassette player in my room, and my parents would buy me tapes for my birthday and Christmas, but tapes were never as cool to me as my dad’s records. The artwork was so much bigger and he had these really nice old Bose speakers he would play them through. Everything about it made the music seem so much more alive to me. I remember a really definitive moment for me was when I saw the premiere of the music video for Metallica’s “One” on MTV. It blew my fucking mind. My cassette player had a built in microphone in it, and you could put in a blank tape (or a regular tape with scotch tape over the two holes on the bottom) and record audio onto it. I used to put the tape player up to the TV speaker and record songs off MTV that I liked. The next time I saw “One” come on I recorded it. I listened to that tape until it was worn out. When I finally got a proper version of And Justice For All on cassette for my birthday or whatever that year, I was really disappointed with the album version of One because it didn’t have all those badass samples from Johnny Got His Gun that were in the video version. If you listen to that version, especially the ending, with the machine-like drumming and those samples laid over it, it has a very Industrial feel to it.

In terms of other projects, I started off playing in Hardcore bands in the mid-late nineties, the most notable being Failsafe, an off kilter, DC inspired Hardcore band I was in with Terence Hannum (now of Locrian), and Jon Glover (now of Ars Phoenix). Another band I was in with Jon, back in the early 2000’s, was a band called Kilborough. We had sort of an uncategorizable sound that blended of a lot of different elements. The couple of years I spent in that project were instrumental to how I work as a musician today. One of the members in that group, Todd Pendv, was kind of like a mentor to me in some ways during that time. He opened my mind up to a lot of new music, art, film and literature, and really helped me redefine my creative approach. I can be a very stubborn, one track minded person sometimes, and he kind of beat into me the importance of experimentation as exercise, and also to take my time with things. When I was younger I was always in a hurry to finish projects, and that’s obviously not the best approach when you want to make something of lasting value. Todd went on to start Pendv Sound Recordings in NYC, and he released records by Chelsea Wolfe, Sasha Grey’s Atelecine and more before leaving behind the music world entirely for a successful career in the fashion industry.

Street Sects is the only currently active project that I’m involved with right now. We’ve got more than enough on our plate to keep me busy. However, I did contribute vocals to an EP for a project called History, which is a thing I did a few years back with Daisy Caplan (formerly of Foxy Shazam). It’s kind of his solo thing, in a way, and I just sang on it, but it’s significant to me because I did about half of it while I was still an alcoholic/drug addict (when I was literally at my absolute worst), and the other half I did after I got out of rehab and was living in a halfway house in Jacksonville FL. So to me it kind of represents this huge transitional phase in my life. Daisy and his wife Rachelle also played a huge role in me getting sober, but that’s another story. We finally had that record mixed and mastered this past year and it should be coming out on Realicide Youth Records sometime in 2017.

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As you work musically mostly with electronics and samples, are you pretty much fed up with so-called organic music, or is this just the way of this particular project? Has Electronic music been something that has interested you since a kid?

SHAUN: Electronic music has allowed me to move outside of expressions I’ve learned over the years with guitar. Also, yeah, I go back and forth on wanting to hear recognizable Rock n Roll sounds in music. I need a combination of things now. A process that isn’t focused on gear but rather an emotional reaction to a particular sound, no matter how that sound gets documented.

LEO: I wouldn’t say that I’m fed up with organic music at all. Electronics are a means to an end. I don’t see Street Sects relying entirely upon the same means indefinitely. For now, it works

I was more into Rock and Heavy Metal as a kid than I was anything Electronic based. The first Wlectronic bands I really got into were definitely Industrial bands. Ministry’s Psalm 69 and NIN’s Downward Spiral were both pretty huge records for me when I was young, but by then I was about 12 or 13.

The themes of the album seem to be coming from personal places of deep disgust, depression, apathy and even self-destruction. The creation of the album has most likely been a purifying experience for you?

LEO: Not really. Speaking for myself, I don’t use music as a way to work through my problems. It’s self reflection, sure, but I don’t see it as therapy. At least not at this point. I mean, say you’re an artist, and you hate your face. So you sit in front of a mirror and draw a self portrait. You draw it as accurately as you possibly can. When you’ve finished the drawing, do you find that you dislike your face any less? I don’t think it’s that easy.

The clear and melodically sung vocal-parts of your music are performed very professionally. Is this approach, besides the more screaming aspects of the vocals, something you had in mind from the start of the band or something you realized could work later on?

LEO: It was something I wanted from the beginning. If you listen to the early 7″ stuff, the singing parts are there, they’re just buried under a lot of effects and poor mixing. Shaun and I have had a few other projects together where clear and melodic singing were a primary focal point of the music. With this project, I wanted it to be glued to the mix in a way where it becomes sort of another texture, but still prominent enough to draw you in, to exist as the emotive, human element amidst the Industrial soundscape.

As you play live as well, how would you compare the performances on the stage to the work at the studio? What is the typical Street Sects song-creation process like in general?

SHAUN: There are times when the workflow is good and strong and I’ll sketch a song all in one go, but often I prefer to make a song piecemeal, sending Leo sketches and asking for detailed impressions, then manipulating texture and tone until something sticks. As for studio compared with live, they’re completely separate experiences. I love studio work and also love listening to records in headphones. I’ve always loved listening to recorded music more than listening to it in a live setting. That being said, we aim for detailed work on the records  and then punishing volume live. Our live show is meant to induce other reactions not necessarily felt in the safe space of the headphones experience, like total bodily immersion, fear, tension, etc.

LEO: The live show is meant it be immersive, and in some ways, interactive. I have a short attention span when it comes to live shows. I get bored very easily, and nine out of ten times I’d rather go see a movie than go see a band. So for me the goal with our live shows has always been to put on a show that I would be entertained by, if i were an audience member. It needs to be more than some rockers up on a stage doing their best Rock and Roller routine, or some fucking haircuts hunched over a table, massaging their overpriced analog gear. No offense to any of our friends out there doing their thing, but I’m just fucking bored of the same old show. I need something that wakes me up and makes me a little uncomfortable. That said, our live show is always a work in progress and it’s nowhere near where we’d like it to be. We are working within our means right now, but it’s going to evolve and improve. The recorded work is an entirely different approach. You can’t bottle up the live experience into an album. So we focus on the songcraft, on writing pieces of music that hopefully engage the listener on both on emotional and an intellectual level.

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Picture: @doomsdayjill

Your album was released by an underground label The Flenser, which suits your stuff perfectly I can imagine, but are you personally supporters of the DIY-mentality opposed to being on a major label? How important do you see promotion (and for example touring) when it comes to your music?

SHAUN: All I have to do is look at the amazing roster of artists on The Flenser to know we’re in the right place. As for DIY, it definitely played a part in our live set up, from deliberately booking DIY venues for intimacy and intensity to financing our own multi tiered PA system–which fucked my credit last year–to ensure that every audience would get the exact same punishing experience.

LEO: DIY is everything. It has to be, whether you like it or not. Look around you. The money is gone. It’s been gone. The nineties are over. No one gets a free ride anymore. If you want something to happen you have to get off your ass and do it yourself. You have to tour, you have to self promote, you have to book, manage, everything. We’re very fortunate that a label as hardworking and respected as The Flenser believed in us and gave us an opportunity to be included on their roster, but I don’t think they would have even considered us if they didn’t think we were 100% committed to making this project happen, with or without help.

Thanks for this interview! What are your plans for the rest of the year? Are you already working on a follow-up to your first album, or are you letting it sink in to the audiences first, and see later on which approach to take next?

SHAUN: We’re definitely not waiting. For me the impulse to write is every day, even if I only write out the music idea as a sentence in a notebook. Earlier this year, we started work on an EP, much of which is now finished. Likely that won’t come out until next year. It contains much of what was learned while making End Position but also has instrumentation and textural range that was excluded from writing that album. We feel an Ep is an opportunity to experiment with sound while in between larger ideas, so it’s not indicative of what to expect from the second album.

LEO: Thank you for your interest! We’ve got a lot of things in the steamer right now. Realistically, the proper full length follow up to End Position won’t be coming out until 2018, but we’ve got a few other things in the works, so 2017 definitely won’t be a quiet year for us. We’re also planning on touring again in the spring, so there’s that to look forward to.

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Street Sects – End Position

(The Flenser, 2016)

Street Sects (from Austin, Texas) was formed in 2013 by vocalist Leo Ashline and producer Shaun Ringsmuth, and released a few singles in 2014, before creating this their first full-length, a masterpiece which appeared unannounced to many from nowhere, sinking its sharpened claws into minds not disgusted by styles such as Electropunk, Industrial, Noise and Power Electronics.

I gotta admit I wasn’t that convinced about the genius of the band after having heard a couple of songs from this album, but couple of days later, after delving deeper into the violent and chaotic alluring world of the album as a whole, I became an adherent of this shit. This stuff is spiritual.

As already mentioned, what you get here is a fierce and quite original mixture of classic Industrial mentality (think of the more aggressive and faster pieces of older Skinny Puppy or Ministry), Punk Rock (or Electro-Punk if you will), and Noise, chemically (psychedelically) combined into an original and fresh end result.

Most of the music consists of samples which could have been gathered from a steel factory of some sorts, put together in an imaginative way. The clanks, thumps, rattles, fizzes, thuds, hisses, bangs, hums and slams are backed up by vicious electronic bass-lines and pounding snares and kicks, rhythms mostly not related to any certain musical style, except Industrial naturally. The grooves of the beats are sometimes childish even, yet working in an extremely convincing way with all the sample-based madness surrounding them.

There are not many clear melodies to be found on this album, as the music relies mostly on the insane cacophony brought by the various sounds and intense beats, but when you do hear them in the form of synth-lines (mostly), they sound beautiful and strong, yet you realize you wasn’t really missing them in the first place. Such is the power of this music.

The vocals are mostly screams through filters of heavy distortion, and they work perfectly with the music. But what gives this stuff a professional feel to it is the vocalists use of clear and melodic singing in the right places, nodding strongly to their influences, but maintaining the aggressive and original feel of the band.

Besides the distorted chaos and aggression, this album is packed with various emotions of sadness, melancholy, hopelessness, self-destruction, hate, disgust and other cool vibes. In fact, without having read the lyrics, I’m betting my head on them being descriptions of resentment, revenge and suicide, making the cover art (artist) a perfect pick for the album.

There are no weak parts on the album, making it a very solid and powerful totality. In this age, after having heard almost everything music has to offer (when it comes to ideas), it is always a pleasure to find someone taking classic pieces from here and some from there and combining them into something that is truly refreshing and moving. That is something we underground music lovers, grown apathetic after years of first being in love with and then disappointed by many powerful styles of music, are always secretly hoping for.

Give this album a chance, and if you get what I’m talking about above, I guarantee you will not be disappointed. This might very well be your favourite album of the year.

The Flenser

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Dieselsex – S/T

(Self-Released, 2016)

The musical visions of Keegan O’Reilly (A. Octo) came to my attention in 2014, in the form of his previous Atmospheric Black Metal project Death Sigh Ritual, which left a very good (twisted) taste into my mouth, when it comes to things like honesty of the music and sheer emotion straight from the depths of the artist.

Now he is back with a new project, this time using the means of classic Industrial Music and Punk Rock, two styles that can be often mixed together in a very cheesy way. Fortunately, this project has turned out surprisingly original and entertaining.

Again the “naked”, honest approach of the musician is very present. In fact, the dedicated and passionate attitude of the man can be clearly seen in one of his hobbies (I know of) outside making music, namely knife throwing. Picture that shit translated into creating music and you know what I mean.

This EP offers four songs and about 12 minutes of very vintage-sounding, unpretentious or ungimmicky Industrial (Punk) Rock with strong nods to the (eighties) origins of styles like EBM and Electropunk, while maintaining the gritty organic feeling of classic Punk. The term Anarcho comes to mind just as often as names like Ministry or Borghesia.

The drum-beats are nicely electronic and pounding but not by any means as massive as one might suspect from modern Industrial, reminding us of the “unimportance” of the drum-sounds (according to many minds) in Punk Rock, executed in a very classic drum-machine-like way while using quite organic sounds in all areas.

The guitars are pretty fat and growling, altho not too heavy on the low frequencies, still basically functioning as both electric bass and electric guitar in the more organic sense. The riffs are half of the nature as an Industrial artist would use his/her synth, and half of the Punk-mentality. Many samples and background synths (such as bass-lines and noises) make the whole spectrum a bit more livelier.

The vocals are shouting coming from quite up high, in an aggressive but not too preaching way. While the accent is quite clearly American, the general style of the performance usually reminds me of the British eighties. The words are also often spit out in cool rhythms and grooves, functioning as an instrument of their own.

As the four songs pass through me quite quickly, and leave me wanting more of the same stuff (or longer songs perhaps), this EP has made a very strong impression on me. It is always cool to find a younger generation finding so much atmosphere in the music of past decades one can create and perform “retro”-stuff in a passionate and generally honest way, but projects like this make me wonder if the music would have turned out pretty much the same anyway, without the artist digging the works of the past.

This is again a very ready package from Keegan, let us hope he continues this extremely positively surprising project. For all fans of hard-hitting vintage electronics and anarchist leather and denim -clad attitudes. A very cool (human) cyber-attack against the programming of modern minds.

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L.O.T.I.O.N. – Digital Control And Man’s Obsolescence

(La Vida Es Un Mus, 2015)

I came across this band via a recommendation of a friend, which was an extremely welcome gesture, since I had been looking for an “Electronic Punk” band with the genuine aggression of a Crust band, and something fresh to offer. In the case of this album, both the classic sleazy and guttural attitude of Punk Rock (and of course Crust Punk) as well as the low-fi hostility of Noise, Industrial and Power Electronics meet in an surprisingly imaginative way.

I have little knowledge of the New York scenes where this band has spawned, but apparently the group consists of members of bands such as Nomad, Dawn Of Humans, Zatsuon and Survival.

The soundscapes of the album are crafted mainly by putting layers of clanky and exploding Industrial beats and percussions (with a vintage groovy nature, so no “Electronic Grind” going on here) and other effects, waving synthetic basses (such as those of classic Hardcore Techno) and other old-school sounds, and phasing flanging distorted guitars (playing Punk riffs, naturally) on top of each other, with enough space and diversity in their individual sounds to give the whole bizarre mix a unique low-fi kinda three-dimensional feeling, which (especially when finished with the very Punk-oriented screaming vocals) seems to be very much alive and breathing.

The true genius of the album lies in the imaginativeness of the people responsible for this stuff, when it comes to creating eleven cool songs with this specific formula. The music sounds indeed unique and original, which is always a positive thing, and maintains it’s fascination all the way through the album. Altho the end result might be a bit low-fi (as mentioned before) to many, it most likely does not matter to the artists (and most fans of the stuff) themselves, since this work of art comes clearly from the feelings brought forth by the classic styles of Anarcho Punk as well as the more extreme forms of Electronic music, which are pretty low-fi by nature.

I heartily recommend this album to anyone into the rebellious feelings and audial aesthetics of Punk, and the harsh aggression summoned forth by means of Noise, Industrial and Power Electronics. You know what I’m talking about, if you are truly interested. A very inspiring and awesome album indeed.

La Vida Es Un Mus (Bandcamp)

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Gnaw Their Tongues / Dragged Into Sunlight – NV

(Prosthetic Records, 2015)

Dragged Into Sunlight came into my attention with their first full-length of 2009, “Hatred For Mankind”, which seemed like a fresh breath of total and honest aggression and hatred among all the trends going on in the Black and Death Metal undergrounds. Taking elements of indeed Black, Death and Doom Metal, spiced with elements of Grindcore, Noise, Sludge and other extreme styles of Punk, Metal and Electronic music, the band has been continuing along the path started by that particular album. The band has vast amounts of experience from previous musical projects as well as playing live, and this experience and dedication for creating and performing this extreme form of musical art has been present in all their doings. Now, about three years after their last release “Widowmaker”, the time has at last come to unleash yet another chapter in their great work, a chapter passionately anticipated by many.

Gnaw Their Tongues is the main project of Mories (originally from Suriname, now residing in The Netherlands), who has about forty releases under this name, also (like Dragged Into Sunlight) mainly focusing in harsh horrific marriage of Black Metal, Noise and other extreme styles. I have only seldomly touched upon his stuff with time, but have always acknowledged the man’s capabilities of creating truly disturbing audial visions of dread.

This collaboration-album was apparently at first revolving around an idea to create a new version of classic Industrial Metal (as begun by Godflesh’s “Streetcleaner”), which can still be heard in the material, not necessarily in the performance of the music itself, but rather in the production. Justin Broadrick (and another profilic producer Tom Dring) has also given his finishing touches to the production of the material. The three hours of material initially recorded for this released has been stripped down into about 33 mins of polished substance.

With about four years in the works, the material has indeed been most likely refined numerous times into this perfect symbiosis of (quite technical) Black and Death Metal as well as Noise (mainly). Besides the production, there is a certain Industrial feeling in the material considering the usage of electronics in a sampled and looping kid of way. Also some effects used in a percussive way give the Industrialized synthetic atmosphere to the otherwise quite organic stuff.

The amount of different soundscapes (and layers) of noises and samples behind the main tracks of clanky but pounding drums, Metallic guitars and distorted screaming vocals is also vast. In fact the material often feels like moving from a room, chamber or other similar space to another, with each having a unique horrific nature and atmosphere of its own, like different kinds of crime scenes. Spoken samples of different murderous themes spice up the already anxious and disturbing spectacle.

The Metallic parts of the material are again mainly a mixture of Death and Black Metal with elements of Grindcore, familiar from the previous work of Dragged Into Sunlight. The guitars are shredding, damping and howling like crazy most of the time, being usually technical (but not too much) rather than melodic. The basses and drums are played with experienced and “relaxed” hands, besides being performed with great skill and imagination, giving the positively human touch to the otherwise inhumane experience. The riffs and general parts of the songs switch from good idea to the next naturally and with ease. The vocals are screamed through the usual Dragged Into Sunlight amount of distortion. The overall mix, which is quite harsh and sharp but otherwise not by any means without low frequencies, is also put through filters of cool reverb. The quality and attitude of the material on the album stays pretty much the same throughout the five songs, resulting at the first listen in the songs drifting by without any clear changes in music, but being so utterly full of detail and entertaining in their horror, it is clear this album has tremendous re-listening value.

To the unexperienced, I’d say this album serves definitely as a better introduction to the music of Dragged Into Sunlight, rather than Gnaw Their Tongues, but if you are already a fan of both acts, you will not be disappointed by this release, guaranteed. In general, this album is a brilliant display of masterfully performed aggression, frustration, and disturbing soundscapes to anyone into the extreme styles such as Death and Black Metal, Grindcore and Noise. A highly recommended album.

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Gnaw Their Tongues (Facebook)

Gnaw Their Tongues (Bandcamp)

Prosthetic Records

Natascha Schampus – Café Industrie – A Lucid Dream

(Hau Ruck!, 2015)

Natascha Schampus (a pseudonym inspired by the kidnapped Austrian woman Natascha Kampusch) is an Electronic, Industrial and Ambient (among other styles) musician also active for example in the groups Exploding Mind and Naum. This new album by him and William Lee was introduced to me by Albin Julius (of Der Blutharsch in case you are unfamiliar with him), also released by his Hau Ruck! label.

The theme of the album seems to be a Cafeteria kind of dreamlike atmosphere, and keeping all the more avantgarde and artistic sides of the Industrial genre (throughout the years) in mind, the album indeed feels like sitting in a living museum-like surroundings of some Café, occupied by weird characters as in a dream, with paintings alive on the pulsating walls each showing a different side of this musical style working as a basis for all things truly bizarre.

The first song features weird liquid clicks and drips, like a clock ticking next to your bed while you astrally travel, and church-like male vocals / chants by Gábor Szohr, on top of Ambient soundscapes. A very trancelike and ritualistic start for the album. The second song consists of more vintage electronic synths, basses and bleeps/keys, and vocoder-vocals, while being just as trance-inducing as the first song. A comedic spoken sample of Glenn M. Wallis fits the atmosphere of the song perfectly. The third song continues with the analogue synth-feelings of the second song, with more violent Industrial sounds accompanying the very Tom Waits-like speech of Peter Hope.

The fourth song is a more calm, eighties-reminding and spacy piece with the vocoder vox returning, keeping the vintage synth-theme of the album so far intact. The lyrics (and speech) of Eric Random gives the song a COILy feeling as well. The fifth song is originally recorded live, with additional synths and hammond added later by Albin Julius. Again a very eighties and Tangerine kinda song, also with nineties IDM-vibes in the logic of the song, full of atmosphere. The sixth song starts with a nice piano-part, reminding us of the musical Cafeteria-mileau theme of the album, before going again more harsh and noisy realms with the synths, featuring a very improvised and live-like feeling with spoken parts by Barbie B.

The seventh song is a mixture of very classical Industrial “Gothic” feelings and organic tribal percussions, resulting in a very cool outcome indeed. Once more, the drunken vocals of Peter Hope fit the song splendidly, echoing of the beginnings of the genre in their aesthetics and lyrics. The eighth song is also equally harsh and very eighties and nineties-sounding piece with a slow snare-driven beat and the familiar vocoders. Again, a strong nod to the historical development of the genre in general. The album finishes off with a sibling-version of the first song, featuring the same soundscapes and vocals, leaving a fantastic taste in my mouth from all the drinks served in the Café by this album.

If you are into the not-so-recent currents of the Industrial scene by reasons of nostalgia, or a younger person interested in the more vintage aspects of the genre, or just an Electronic music freak in general, I definitely recommend you to spend a night at the Café summoned in a lucid dreamlike existence by this album. It is totally worth your time.

Hau Ruck!

Natascha Schampus feat. Peter Hope – Bates Motel (Video)

Natascha Schampus feat. Eric Random – Friedhof Der Namenlosen (Video)

AUN – Fiat Lux

(Cyclic Law, 2015)

Since 2007, AUN has been the magical work of two Canadians Martin Dumais and Julie Leblanc, whom use various instruments such as electric guitars and theremin besides their vast array of electronic tools to create their audial trips of Industrial and Ambient nature. Although they have an admirable discography, this is the first release I hear from them.

Most of the sounds of “Fiat Lux” are surprisingly clear, well produced, and of high quality, with the various textures of the numerous layers of audio visible and touchable in your mind, making the album a very cool and pleasantly complex trip. Every beat-like click, bleep, thud and thump is tangibly upscale, in a high-quality (kinda nineties) IDM-way, while the more noisy and grainy aspects of Ambience sound nicely thick here or thin there, making them something to really concentrate on as well. Some spoken and sung parts add to the cinematic soundtrack-like feeling of the music.

Just like in the case of Future Sound Of London’s classic “Dead Cities” (in the nineties), many songs of this album drag me into the abandoned streets and buildings of some city of the future, with post-apocalyptic mist and smoke drifting past the still-blinking neon sings with none there to see them except me. The atmospheres of the songs are usually more beautifully melancholic and intriguing in that Blade Runner way, rather than depressive, anxious or scary.

These songs have apparently been worked live as well as in the studio, and refined at a later date, making this a very polished and well-thought collection of feelings. There is definitely a feeling of a live-performance in the music, most likely having to do with the fact these individuals have been performing live over 150 times during the years. This quality release shows once again the awesome power and magic of the Cyclic Law catalogue, appealing mos def to all fans of quality IDM and Ambient. If I would be writing this in the nineties, I couldn’t wait to smoke a joint before bed-time and put this on. Well, why not do it today as well.

AUN (Official)

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Cyclic Law