Exclusive Premiere: Videograve – Space Street (ft. Neud Photo)

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New York, or Neo-York, if you’d go with new beat meet industrial vibes. Belgium haven’t been so far away since they once launched their much appreciated genre of “new beat“, together with iconic acts such as A Split-Second or the Dutch equivalent L.A. Style, with their less body-beat and/or EBM-inspired sound, borrowing more from danceable techno. If we use the definition of the underground culture that was launched in Western Europe, the pioneering of an underground music subculture. The term itself was also used as a collective term in the U.S., for different electronic styles. So it’s not by chance that Videograve emerged out of the blue, in 2011 with their debut-album “Slum Electric” released by and on Living Tapes. Lending a whole new face to the style itself, infusing it with a cybernetic form of industrial atmosphere – into the whole she-bang. Two years later, “Strange Menagerie” came out on the same label. Which might’ve been what sparked my interest in this duo as such, from the beginning. The two members, Danny Riley and Mitch Patrick have taken it a whole other way then for example Schwefelgelb, whom are also scanning the territory close to New Beat, but not into the same realm as them.

With this in mind, Invisible Guy can offer you a collaboration that was done by Videograve together with Neud Photo. This track is rather elusive, rhythmic and robotic. Combining the different areas that they work within, as the more cybernetic new beat with hints of industrial is mixed with an even more melodic side. Even though a little bit of Neud Photo has been put into the mix, the atmosphere itself is harsh and it introduces you both to the sublime monotony in rhythm, but at the same time pierce your ears and enter the divine – with angelic melodies in the background. The track is titled “Space Street” and is made available to you all to listen to and stream, exclusively on Invisible Guy. The photograph that is pictured on the top of the page was taken by Mitch Patrick, and is featured on their latest album. If you’re interested in their latest album “Strange Menagerie“, it can be bought from Living Tapes by following this link.

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Part [III]: Invisible Guy and Nostilevo presents: Industrialized [FROM] Sense!

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Invisible Guy is collaborating with Nostilevo, which means a freaky mixtape that is in between 2 to 3 hours long. Containing both the back catalog, the front, and the end. No, seriously, we’ve put some effort into this mixtape which you can hear old Nostilevo releases on, newly released and forthcoming releases. Much to your joy, it will feature tracks from four of these coming releases. For those of you that don’t know, the forthcoming releases will feature Men Of Bissau, Desire XXI, Bad User Experience, Traag and MA Turner. We’ve incorporated tracks from their future releases on this mixtape. Tune in, tune out, meet your makers!

When Nostilevo hides in the shadows for a while, you forget what’s equally as great. The machines stop in their motions, humans once again stop consuming, as they fall into even greater apathy. So, you know, Nostilevo should be around as much as possible. It is what’s best for Industrial and humanity in general, because we need to power them up once more, so we got a hold of their general. Mr. R, as he is called, mentioned that he has got some releases going to be put out as soon as possible. Therefore, they’re back again, but we’re also back once more. Machines start to venture into motion, humans find more to be joyous about, and Industrial once again – shines like the brightest star on the blackened heavens of earth.

Tracklist:

1. Church Shuttle – Will
2. Craow – Masters Plan
3. Bad User Experience – P.C.P. N.U.
4. Dream Affair – The Porter
5. Inextremis – Blind
6. Mammal – Half Sun II
7. Ritual Howls – Hell Fuck
8. Siobhan – Southgate
9. Slaymaker Welding – Side B
10. Tollund Men – Forest of Disintegration
11. Liable – Such Glorious Youth (demo)
12. Gauze & Ivory Band – Good Taste Estate
13. Knækkede Stemmer – Tvivl
14. Dream Affair – Outside
15. Craow – Square Blocks & Dead End Streets
16. Ritual Howls – Turkish Leather
17. Church Shuttle – Leg And Leg
18. Men Of Bissau – Side B (Unreleased)
19. Inextremis – Into The Fire
20. Tollund Men – Wound Of Nature
21. Ritual Howls – Keep Those Stones Up Boys
22. Siobhan – Reaction
23. MA Turner – Boss Ranking (Unreleased)
24. The Glass Path – Untitled A
25. Dream Affair – Torn Apart
26. Bad User Experience – WATSMATTU (Unreleased)
27. Desire XXI – Notre Signaux Bond (Unreleased)
28. Ritual Howls – The Scent of Skin
29. MA Turner – Ecstatic Rank (Unreleased)
30. Desire XXI – Distorsion de la V.L.F. (Unreleased)
31. Bad User Experience – The Matrix The Movie (Unreleased)
32. Traag – Around My Home (Unreleased)
33. Pure Ground – Crawling Through

Spotlight: Ruined Machines & Michal Brodka – Celestial Bodies

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An amazing project that you need to seek out. The project is masterminded by Ruined Machines and the artwork designer Michal Brodka. It revolves around a 12-month galactic collaboration and trip, which has already gone through The Sun, Mercury, Venus, The Moon, Earth, Mars, Jupiter, Saturn and is currently at Uranus as of February. The music itself revolves around a post-rock and space-rock take of the universe, alongside with experimental instrumentals and other nice things which will be your partner on the trip. Visually, the experience is intense and the artwork is immense. Musically, its as intense, focusing on the details and abhorring the “non-detailed” pattern of musical experience at large. This is their own mission statement:

The visual artistry of Michal Brodka is paired together with the sound of Ruined Machines to create Celestial Bodies, a year-long series of twelve releases.

Over the next 365 days, twelve otherworldly artistic journeys will take shape through strict monthly production deadlines, with each collaborative result being shared with the world via the Ruined Machines Bandcamp page on the first of every month.

Each month’s final product will artistically embody a specific Celestial Body, beginning with the May 1st release of “The Sun”.

Largely an experiment, the idea behind Celestial Bodies is to see what we can come up with as a unit in a small amount of time. There is no pristine mixing, perfect technique, or completely pre-planned production. A stream of consciousness. We are creating maniacally; we enjoy the final product as if we’re hearing it for the first time. We’re on the journey just as much as everyone else is, and we can’t wait to see where it all leads.

We are next in space.

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Celestial Bodies can be downloaded for free at bandcamp. Before you begin your journey, make sure you start with the first one, which is The Sun. After that, you can proceed through the different planets and enjoy your own galactic trip as interpreted by Ruined Machines. If this wasn’t enough, they’ve also compiled the trip (so far) into one single entry. It is unfathomable why they choose to do this for free, as you get high-quality music, artwork and the whole lot for free. I suggest you spend some pennies on this or whatever currency you seem fit. On the different releases, you can also support them by buying an art print of whatever release you see fit.

Interview with Unwoman!

Photo by: Perception Crisis

Photo by: Perception Crisis

Unwoman is a San Fransisco-based cellist and multi-talent that have been active since 2001, releasing a wide array of about seven albums and one EP. Her real name is Erica Mulkey and she also frequently plays and visits goth, steampunk and science fiction-events. With praise from Amanda Palmer (Dresden Dolls) and collaborations with various acts such as Voltaire, Abney Park, Rasputina, Jill Tracy and many more – she’s gotten a wide range of perspective, influence and musicianship. Nowadays she also performs solo with the drummer Felix Mcnee as Heavy Sugar Duo. Besides that, she also does guest appearances in other bands. I got the opportunity to ask Erica about her collaborations, how she depicts the “dark cabaret”-genre and what’s in store for the future of Unwoman – and much, much more.

You’ve worked with many known acts within the dark cabaret-scene, if you’d get to choose one ultimate collaboration that you haven’t done yet, what and who would it be with?
– It would be pretty sweet to play with Amanda Palmer. I have seen her live many times but never met her, though we’ve communicated online.

I think it’s pretty cool that you’ve self-produced four full-length albums, could you tell me what goes into that process?
– Writing songs, recording material, polishing mixes (I could talk for days about how I actually produce songs but I suspect this isn’t the right place for that), package design, having material mastered, and communicating with pressing plants. I’ve actually self-produced six full-length albums if you count my remix album Unremembered and my covers album Uncovered – seven if you count Infinitesimal, my very first album which was unreleased until Feb 20, 2012.

Does it give you more artistic freedom if you self-release it?
– I have complete freedom and from what I gather I would not if I were beholden to a label, so yes, of course.

What do you think about the genre dark cabaret in general?
– It’s interesting in its communication style –- it brings back the tradition of songwriters speaking directly to the audience rather than being overwhelmed by intricate musical trickery, yet it’s open to visual glamour and seduction that coffeehouse singer-songwriters don’t generally employ. (For the record I don’t consider myself dark cabaret; my recorded music is too electronic.)

How many projects do you have going at the same time right now, as we speak?
– It depends how you count things. I have my documentary project, which I hope to have to press in March, I have this first album rerelease (Feb 20) for which I scanned a lot of old original lyrics notes, I have my next album (to come out Summer 2012) for which I have 13 songs written… I always have little collaborations happening here and there, too.

What do you think about Siouxsie and the Banshees, more than them influencing you musically?
– Oh yes, they were very influential. I think it was extremely important that post-punk/goth music had a strong female voice and Siouxsie was wonderful for that. I love all of their albums but my favorite may be Juju.

I’ve lately heard something that reminded me a lot about Siouxsie, her name is Zola Jesus, have you heard her music?
– Yes! In fact, her song “Night” is an important one between myself and my boyfriend, as we have to spend a lot of time apart because of my touring schedule. One time at Death Guild (San Francisco goth club, where he does lights and live visuals) we danced to “Night” – not touching, – but our eyes locked through the entire song.

It seems like you have quite dedicated fans, how do you feel about them?
– I seriously love them. They are smart, loyal, forgiving, and supportive, and I do my best to give back what they give me.

Amanda Palmer seems to help you a lot, have you collaborated with her in any shape or form, or do you want to?
– She has helped me a lot – but it was all in one day, when she found my ustream and tweeted about me, and got me at least a hundred new dedicated fans. I know I could double sales of any of my albums if she tweeted about those, but I don’t want to bother her. (Heh, I answered the 2nd question already) I have never actually met her – the last three times she’s performed in San Francisco I’ve had a gig out of town.

Where would you say that you’ve found inspiration for your aesthetics?
– Visual aesthetics: silent films, art nouveau paintings, steampunks, street goths on Telegraph Ave in Berkeley, Victorian dolls, post-apocalyptic fashion tumblrs, witches, burlesque performers, tribal fusion bellydancers…

Have you also drawn influences from Lene Lovich and Toyah?
– Not consciously.

You seem to have quite a lot going at the same time, does it ever become tiresome for you?
– I wouldn’t say tiresome, because my life is thrilling and beautiful, but it can be overwhelming. I had recently been saying yes to everything that came my way, and getting lots of people inquiring about shows, and saying yes to all of those, but I think I need to slow that down for a bit so I can make sure my head is above water and I’m not letting too many things fall through the cracks. The main difficulty is rapidly shifting gears between traveling for shows vs being at home editing music or video. I absolutely love both of those things but I need balancing skills that I haven’t fully developed yet – I’ve only been a full-time musician for two years now.

What do you believe that the future holds for you, and will you be releasing something new this year?
– Lots of convention appearances (steampunk, scifi, goth, etc) in the US. I will be releasing my next original album this Summer. Based on what’s been happening over the last two years, my fanbase will continue to grow slowly and steadily; I’ll never be a household name but I’m able to support myself and live by my own rules, so that’s just fine with me.

Will you be touring in Sweden someday or have you done that already?
– I hope someday to have a big enough fanbase globally to justify it, but right now I don’t think I could make it work. I played in the UK a year ago and the shows themselves were really fun, but being in a foreign country, even one where I spoke the language, where I didn’t have any close friends, was really difficult for me – I’ve only just recently gotten comfortable touring in the US and it makes the most sense to focus on playing here.

What would be your last words of wisdom to your Swedish fans?
– I recently expressed this to a young fellow musician but it really applies to every creative person: You will never get permission to rock to your fullest awesomeness. Do it anyway.

Here’s Unwoman covering the song “Hurt” by Nine Inch Nails:

You can find her here:

Official Homepage: http://unwoman.com/