From the current hotbed of synthesizer-based acts, mainly the Canadian city of Montreal, there’s more than a resurgence of artists and groups from the 2000’s. From the depths of dungeons, assembled yet again but in exactly the same shape as before, comes a resurrection for …Of Tanz Victims in a digital format—rather then on vinyl. This Montrealian (Québecian-based) group had their peak during the 1980’s—then associated with the independent label and store (now defunct) Bunker Records—not to be confused with the Netherlands-based “acid-house” label with the same name. It consisted of the members Robert de la Carignan (Robert Mailloux) on guitar, bass and vocals, Denis Wooty (Dany Wauthy) and Roy Batty (Roy Batty) on synthesizers, drum-machine and vocals, with Sat W. Ford (Stefan Figiel/Stephan Faulkner) sampling, percussion and vocals. Everyone in this trio contributed with their voice for the project. Now they’ve put out their first single “Fighting False God“, and their fourth album “Haunting the Empire“—as a digitally buy-able and downloadable item for your consumption.
Their rather shady description on their Bandcamp-page suggests a contrast in between a real identity and a fake one, all for the purpose of entertaining theories on the origination of the project—but mainly questions about their identity. We don’t really want to find it out. Since their original releases on vinyl seem to have held quite a nice quality, there’s no reason to believe that the music have been re-mastered for this purpose—just digitized. But who really knows. The name of their project is equally ridiculous and fascinating. Not to mention how much more fascinating their music is, which seems to dwell in between an avant-garde take on industrial, electronic body music, noise and electro. Those main influences bring forth assorted non-electronic music with overt electronic ingredients—masterfully utilized in total synergy. We give our warmest recommendation for this group and hope this return bring them back with more interesting material—heads up to any and every re-issuing label out there. Listen to both releases down below.
Det är inte ett nytt dilemma, utan snarare ett dilemma som nästan är uråldrigt. Men i dessa industrialiserade tider så blir det allt mer intressant när civilisationen tränger ut det agrariska samhället. Tillsammans så skapar John Moose en fiktiv karaktär med bandnamnet, denne karaktär får man följa genom deras sånger – vars biprodukt blir olika berättelser där det huvudsakligen kretsar kring eskapism – på rymmen från civilisation till förmån för det agrariska närsamhället. Men egentligen kan man också titta längre bak, innan det agrariska samhället blomstrade och innan industrialismen kom, eftersom att deras koncept går att applicera på samhällen vars konstruktion stått på en stabil grund – med rötterna fast i marken och en inneboende påminnelse om hur moder natur fungerar. Värmlands vilda skogar är deras bygd och Hagfors verkar vara deras fasta punkt i livet. Namnen på de som drar i trådarna över John Moose är: André Szeles, Emil Florell, Ia Öberg, Petter Falk och Tobias Norén.
Tillsammans lyckas de skapa en trevlig avvägning till förmån för det semi-akustiska, men där popen ibland kan vara så framträdande utan att på något sätt störa atmosfären de skapar rent musikaliskt. Det är sparsmakat men det finns tydliga folkinfluenser som letar sig fram bland de vackra och genomtänkta melodierna. Även om de inte ens släppt debut-albumet än så har låten “Vilan” en ohörd potential för öronen. Mystiken tätnar när musiken plötsligt dyker in i en akustisk fas av sig själv, med vackra röster som tornar upp ovanför en melodimatta vars vackra ljud knappast är i närheten av rösterna – men som ändå bidrar med att ge låten ytterligare en dimension. Så fortsätter det – nästan in absurdum – och helt plötsligt letar sig en flöjt in. Det är det man tycker om när man lyssnar. Allt kan ändras på en sekund, tempot kan bli snabbare eller så kan det avstanna helt till förmån för en mer taktfast rytm.
Nu är de tillbaka efter en tid av tystnad. Skillnaden denna gång är att de börjar med ett melodiöst och känslosamt, akustiskt utlägg. Även om sången inte faller mig på läppen, så är det en vacker bild som målas upp – sen rycker kavalleriet in och stödjer den ensamma rösten mot omvärlden. Det känns som att det är skyddsänglar. Hur som haver, man kan inte tycka att någonting är helt perfekt och det är inte meningen heller. Men det som är bra med John Moose är att det är ett konstant pepprande med kvalitétsmusik, och då är det faktiskt okej om det ibland är lite opolerat eller inte riktigt stämmer överens med ens egen smak. Repartiseraren fick ett tillfälle att tänka till och att försöka acceptera, eftersom att John Moose varit snälla nog att erbjuda en premiär så kan man inte undvika att ta den. Här kommer låten “Flower” med musik-video i ett komplett lyckopaket för er att inmundiga.
These Australians have a weird habit of returning to my blog-zine. Weeping Rat is a mini-ensemble of Australian people whom I’ve written about before. Essentially, they’re a perfect example of what a band actually can do and how not to be a bland mess of influences. Changing themselves over time from a death-rock outfit to a more experimental industrial one. Having released stuff as far back as 2012, now beginning to shape their latest release “Eulogy“. Making a weird kind of transition when they released their two EPs “Forced Vision” and “Fractured Zones“, showcasing two different sides of what was to become a future release. Now they’re limiting themselves to a weird kind of mixture between industrial, cold wave and post-punk – experimenting between the three. Capturing a certain kind of melancholic vibe together with their unusual sounds, a clingy theme of an abrasive singer, with the inspiring percussion.
I got to put up the first single taken from this future release. This particular song is really what defines their new selves. Featuring a meditative rhythm, hiding away a cluster of percussion in what could be referenced as a rain-forest of instruments. At the same time there is a lot of things going on, but it doesn’t really hinder the atmosphere or make it clutter. Well, I put up the song a while ago and I hadn’t written about it until now. So here you are being given the first single from their forthcoming release. The song is called “Eulogy” as you might’ve already found out about. Let’s hope that you listeners enjoy it as well as much as I do.
In between the clutches of bass music, experimentalism soars as the finnish Luke Lund gears up to deliver an interesting blend of what you’ve just heard – and some kind of dub with industrial influences. Even though the hip-hop samples doesn’t enhance the atmosphere of the tracks, these different genres in a crossover do precisely that. If that influence had been held out of this release, then it would’ve been so much better. Anyhow, he’s just released the album “Lost And Found” on his label Terranean Recordings which he runs together with the polish Bartosz Szturgiewicz. This particular release contain older tracks that have been re-worked during the month of March, to be compiled into a compilation-styled album. He calls the tracks the following: “…long forgotten untitled sketches“. Here the tracks range from roughly four minutes up to thirteen as the longest. When it comes to the longer tracks, they’re more drone and shoegaze in regards to the general atmosphere, whilst some of them deliver a hard-knock bass music-oriented sound with rough industrial textures. The shortest tracks seem to be noisier, but there are even tracks that come into dark ambient territory. So with that said, there are a wide-range of influences that are distinguished by their application in each track. Some are harsher, others are lighter, some are more gloomy, and some deliver a weird combination of genres that affect both rhythm and melody. The tracks themselves are being mixed live with FX and other instruments, and each day there’s another track that gets put up. So every characteristic of the track depend on what kind of mood he’s in that day.
The album itself is compromised of fifteen tracks. If this album sounds interesting, you should check out the other albums that he’s released since 2012. Everything from his first album “Colony“, to the one before this, titled “Forlorn“. He’s also been releasing singles and EPs, starting with his first double-single titled “Breed“, to his latest which is titled “Question / Images“. It is surely noticeable that Luke Lund, whose whole name is Lukas Alexander Lundén, is a multi-instrumentalist. But what’s even more interesting is that he’s self-taught. He remixes, produces and does everything himself. He’s based out of Turku, Finland. Since the label itself is a non-profit digital label, all releases are freely downloadable. But if you like what you are hearing, you should donate a little bit of cash. Stream the whole release “Lost And Found” down below.
If you’re hungering for some noise to your late-in-the-afternoon tea or coffee, look no further. As we dot the line in Belgium, a band called Little Trouble Kids e-mailed me about the fact that they’ve got a music-video out for their latest single “Haunted Hearts“. I haven’t actually heard of them until this popped up in my browser. Interestingly enough, they’ve got a nice approach to both pop-music and noise as such, together with their “grandiose minimalism“. Grandiose I say, because their percussion-focused track “Haunted Hearts” deliver a somewhat minimalistic sound, in one aspect at least – and that is the semi-acoustic atmosphere and the vocals. Resonating throughout the sound-scape is a new form, but albeit old form, of avant-garde expression. However, what makes their song interesting as such, as I haven’t heard anything from them but this song – is the fact that the percussion takes a leading role. But also the fact that their landscape of sound is shaped around the fragmenting parts that make it feel so completed. This, together with the different elements of both a female vocalist and a male vocalist. This is also where the appropriate tagline for them appear, namely: alternative. Little Trouble Kids is Eline Adam and Thomas Werbrouck.
Watch their haunting and mystical music-video up above and download their first single “Haunted Hearts“, taken from their forthcoming album with the same name, for free from their website. The album itself will be released on the 17th of March, so I’d tell you to look out for whenever it comes out, because they’ve got a pretty interesting sound. For those of you that are interested in their discography I’d suggest that you’d check out their second album “Adventureland“, released on Little Trouble Disks in 2012, and their debut-album “Little Trouble Kids“. Both can be streamed and listened to down below. Their new track “Haunted Hearts” can be downloaded for free from here.
Time to get hit hard once again, because our Scandinavian masters of EKM are back again. Bringing you a sledgehammer of primitive electronic body music, channeled with the fury of Henrik Björkk through his heavily distorted vocals. Yet again they release a single, this time in the form of a remix-EP, with the main attraction “H8 U” – being pounded into you by force. Concocting a mix of old-school EBM, to pre-2000 body music, together with a final assault of a more melodic kind – with post-2000, modern “dancefloor” electronic body music. Pouppée Fabrikk selected Blush Response, Kant Kino and [aesthetische] to remix (and mix) their single. It’s not as impressive as “Bring Back The Ways Of Old EP“, but it still deserves a spot on Invisible Guy. For those of you that are keen on keeping stuff as old-school, or as anhalt as possible – sorry, but this EP is clearly not for you, with the exception of Kant Kino’s remix. However, this single of theirs deserves recognition for the fact that Pouppée Fabrikk are trying to keep it that way – with the heavy emphasis on where they actually came from. If you’re into the whole modern electronica she-bang, and EBM at that – you will most certainly have a blast. Well, we’re going to have to wait for the whole ordeal to come out instead, before we’re getting up and above what has just been heard. If we’re lucky, it might actually come close to the level that “The Dirt” managed to reach – even though it mostly contained old and re-mastered tracks. The anticipation lies in waiting for something new from this fiendish group. Listen to and stream the single-EP down below. You can order the digital-only version from Alfa Matrix, while you await the real deal.
I haven’t really been covering Kontravoid a whole lot, with one exception. But what I have been covering has been Tännhauser Gate. Now they’ve outdone themselves when it comes to remixing, as they’ve just now remixed “Impurities“, a stand-alone single that as of yesterday, have been remixed by Equitant, Alixander III, VLsonn and Tarantula X. Also featuring a remastered version of the track itself. It seems like Pretty Pretty Records from California have had their hand in making it happen, too. Anyway, the reason that I’m writing this is because Len from Tännhauser Gate e-mailed me about it, and I must say that when I pick and choose from those remixes – I always fall back to Tännhauser Gate. They squashed in their signature into it, and even though it sounds alike, their more down-tempo take of the track is unabashedly my favorite. When it comes to the actual track itself, the techno-vibes along with the aggressive EBM under- (and overtones) – make me head back to the original source all the time, that is – when I’m not listening to the Tännhauser remix. I actually have no idea what will happen to this single, more than the fact that you can buy it from Kontravoid himself and Pretty Pretty Records. However, this is probably one of the more interesting remix-albums since Three Winters released theirs earlier this year. The album art for this release is courtesy of Ryan Paterson. Buy it digitally by name-your-price and put in something extra there, or buy on iTunes for the ridiculously low price of 0.99 dollars.
I know of their existence, thanks to Totally Wired Records. The rhythms are funky, the melodies are thought-out, the impact is profound. Grandiose landscapes of rock music meets the underbelly of alternative and some post-punk, with psychedelic overtones. Lovely vocals, crass guitars and deepened baselines. Yes, I’m talking about Gran. The latest addition to Totally Wired Records, with three songs, three singles. They deserve to be in the limelight, as their slimy aesthetics make you begrudge that you’re not one of them. Continually chasing the spirit that is developed within their sound-scape, always after something. But, you know, you wish we’d dance like them. Their song “Brain Freeze” just got a music-video, which is what I’m talking about right here. But if you want to, you can both stream their singles and watch their music-video. Not at the same time, though. If you’re not some supernatural and abnormal human being that know how to multitask to the extreme. Just let it pour in, let it dissolve and make up your mind. By the way, their singles are available for free download ONLY today on the 19th of August. So get to it, people!
Photo by: Zed Cutsinger
It’s gone two days since Youth Code premiered their single “Carried Mask” from their forthcoming self-titled release on Noisey. I haven’t really been following them as closely as other people have, because I haven’t been that interested to be honest. But since I read that virtually everybody loved their newly premiered single, I had to take a look, keeping in mind that I had heard their earlier material a while ago. What I heard is miles away from their earlier stuff, which is great indeed, because now I can love them a little bit more. Their Nitzer Ebb-ish early industrialized EBM touch really sticks with me, as their carried steel is smashed against the nearest barrel, paired with the agonizing vocals – shrieked with a raspy voice, turning into a nightmare on wheels. Another thing that suck with me was the sample that they use in the beginning and throughout, which makes it a little bit more militarized than it would’ve been otherwise. This would also remind me a little bit about Manufacture, one of the more shrouded oldschool EBM-acts, blending both the new beat craze with militaristic tenure in their song “Armed Forces” from their most known release “Terrorvision“. If you conclude that this blend is hazardous to you, you’re in the right spot. Even though Youth Code could settle with a little bit more punch for me to like it, they’ve greatly improved since last I heard them. Which is positive indeed, but I’m just another brick in the wall of positive critique that have been typed throughout the internet. I don’t know if they might consider themselves to be part of any wave, but it feels good to at least have some faith in industrial regained, as this track keeps banging in the back of your mind. Firstly, it’s pretty much a nostalgic trip. Secondly, it’s a song that can easily stick to you and stay, instead of just going away in some days or so. It’s been on my mind since it was released and I can’t wait to receive the full ordeal. You can pre-order it over at Dais Records, but it seems like they’re going quick, so hurry up.
Yes, one of my dear bands have released another string of music. No, I’m not in this band, it’s just that I liked them a lot a while ago. Therefore, their newest material (and single) “Somewhere We Can Be Alone“, takes me back to where I was. Indie rock met new-wave and had a child that turned out to be The Pocket Rockets. Miss-mashing in between brother shoegaze, and sister post-punk. Yet another reminder of how awfully great summer can be, because that’s where we are right now. Recorded in a bedroom, in East Los Angeles between Spring and Summer, where the singer resides. It was mastered by Jon Siebels (ex- Monsters Are Waiting, EVE 6). The happy-go-lucky atmosphere of the song is stunningly beautiful, in all its simplicity. I wouldn’t say that it’s generic, just because the melodies and rhythms are rather basic, because the catchiness of it is something beyond just that. Sometimes you just don’t need anything else, just because you want to shake your hips to a song about summer and love. Everything’s fine, as the baseline roots the sound a little bit deeper, catapulting with the energy of the band as a whole. Steadily waddling forward, with baby-steps, together with the percussion of the almost psychedelia-like surroundings. First and foremost, you should listen to it, because it will be worth it. It might also end up being the song you’d associate with Summer.