Jun 2011 20

Cover Image
Category: Noise / Industrial
Album: A Cassette Tape Culture (Phase 1)
Stars: 3.5
Blurb: An elegant and disturbing display of avant-garde experimental noise the likes of which haven’t been heard since the early days of industrial.


It’s almost passé for underground electronic artists to cite the experimenters of old like Throbbing Gristle, Nurse with Wound, or Coil as influences, but so few of them are truly able to present the spirit of this influence, instead opting for only a peripheral connection to them while adhering to current modes. Not that there’s anything specifically wrong with this approach, but to listen to ATelecine’s music is to take a trip back to that experimental mindset in a manner that truly defies the commercial, conventional, or categorical. Stepping up their game from the aVigilant Carpark EP, Sasha Grey and Pablo St. Francis have taken on Anthony Djuan and Ian C as additional members in their quest to push the boundaries of sound and music to create an original palette of atmospheric sound and style.

A Cassette Tape Culture (Phase 1) is sure to challenge people’s perceptions of what qualifies as music as ATelecine throws in everything including the kitchen sink (perhaps even literally, who knows?). The throbbing bass overtop a distant and muffled tape recording, complete with other skittering and resonating sound effects in lieu of a standard beat, is nothing short of ominous on “A Cassette Played,” sounding like an abstract soundtrack to someone’s innermost, darkest thoughts. “Chroeg Xen” is a haunting two minutes of ambient keyboard and tribal-esque melodic percussion that recalls the prepared piano experiments of John Cage and Aphex Twin on the Drukqs album, while “I Came I Saw I Departed” sounds like an avant-garde take on doom metal with its excessive distortion muddling a menacingly simple guitar line, metallic percussion, and other sounds that could easily be severely mangled vocals or cries for mercy. As evidenced by these tracks, as well as in the twinkling synths of “She is Beautiful” or the heavily tweaked sequences of “Some What Daft,” A Cassette Tape Culture (Phase 1) really prevails over past material is the presence of actual melodic and musical moments akin to the atmospheric backdrops exhibited by IDM artists.

With so much experimentation and decidedly unconventional sonic textures at work in ATelecine’s music, it’s clear that the band is out to appeal to those listeners with an ear for the strange and unusual. This is not the run-of-the-mill industrial you will find in the clubs or on the Alfa Matrix or Metropolis labels; this is the stuff that truly revels in the modes of old, shunning commerciality in favor of true exploration. And yet, with the presence of actual musical moments – albeit twisted past recognition – on A Cassette Tape Culture (Phase 1), ATelecine has the potential to take its niche sound to a much larger audience.
Track list:

  1. Find Nothing Else
  2. Chroeg Xen
  3. It’s All Write
  4. She Is Beautiful
  5. Kitchen Light
  6. A Cassette Played
  7. Auon (Live Version)
  8. Some What Daft
  9. Elijah’s New Sun
  10. I Came I Sat I Departed
  11. RH
  12. Never Was a Dreamer

ATelecine MySpace http://www.myspace.com/atelecine
ATelecine Facebook http://www.facebook.com/aTelecine
ATelecine Twitter http://twitter.com/#!/aTelecine
Sasha Grey Website http://www.sashagrey.com
Sasha Grey MySpace http://www.myspace.com/sashagrey
Sasha Grey Facebook http://www.facebook.com/sashagrey
Sasha Grey Twitter http://www.twitter.com/sashagrey
Pendu Sound Recordings Website http://www.pendusound.com
Pendu Sound Recordings MySpace http://www.myspace.com/pendusound
Pendu Sound Recordings Facebook http://www.facebook.com/PenduSound
Ilker Yücel (Ilker81x)

Jun 2011 20

Cover Image
Various Artists
Category: Compilations
Album: Cum to My House. I Have Beer, I Have Scotch, There Will be Drugs!
Stars: 2.5
Blurb: A vicious assault of harsh underground industrial, noise, and dark ambient with a few lighter moments to keep your ears from bleeding too heavily.


As the lines between genres are being steadily blurred beyond distinction to such a point that a new subgenre seems to pop up out of the woodwork everyday, it is becoming increasingly difficult for the average consumer to think outside of categorical boundaries. After all, what do dark ambient, power noise, and terror EBM have in common that they should find their way side-by-side on a compilation such as this? Quite simply, all represent the darker and more extreme forms of underground industrial music, all exploring similar themes and modes, thus finding a similar audience. Such has been the approach of Bugs Crawling Out of People and the artists associated with the small but adventurous label.

With a title as irreverently humorous and enticing as it is slightly disturbing, one can expect the music contained to follow suit. Beginning with a bang, compUTerus blasts its way through the speakers with a pummeling dose of electrified industrial noise that is sure to get people dancing as well as banging their heads. Keeping the pace going is iVardensphere’s remix of Iszoloscope’s “The Sum of Us All” with its infectious and noisy rhythms that stop and start to give way for some chilled and darkened ambience for added tension. From here, the compilation takes more than a few unexpected turns, from the scathing EBM of Vicious Alliance’s “Let’s Bash These People Up” to the slow burn of terrified dark ambience and scrap metal beat structures of “Hallucinating in the Temple” by Worms of the Earth, and the onto the sparse glitch-laden airiness of Famine’s remix of “Halcyon” by Cisc. Other tracks like the Valvegod remix of Lucidstatic’s “aux8,” the Jaymez remix of Famine’s “Cortruisse,” and the Cut & Grind mix of “Sin Eater” by Dedtek offer up blistering displays of unabashed, uninhibited breakcore, while “Santorum” by It-Clings and “Like Freshly Fallen Snow” by Vaginal Rippage are a pair of anomalous pseudo-erotic stories with some equally discordant musical (and vocal) backing.

The one major misfire on the compilation comes with Adolf Glitter’s cover of Cyndi Lauper’s “Time After Time,” for while the music is a pleasant mix of 8-bit pads and bass lines atop a mild breakbeat, the hideously out-of-tune male and female vocals are so dissonant to the point of absolute annoyance. Some might find the formless distortion of Notaform’s “This is Love Too” to be beyond uncomfortable, although the track is a thankfully brief affair of two minutes, keeping it from stifling the enjoyment of other tracks like “0=3” by M00nbASS, which is a nicely constructed mix of head-bopping electro, and the rhythmically appealing demo of “MISSING TIME” by DIFF_CULT, full of layers of chilled out pads and breaks akin to the Urbcom label. Overall, Cum to My House. I Have Beer, I Have Scotch, There Will be Drugs! suffers mostly from a lack of logical flow due to its varied, schizoid, and decidedly vicious assault of the harsher forms of underground industrial music. It will certainly please fans of its niche demographic, while the few lighter and more musical moments might entice a few new listeners to take notice.
Track list:

  1. compUTerus – Progress is a Train
  2. Iszoloscope – The Sum of Us All (iVardensphere Remix)
  3. Worms of the Earth – Hallucinating in the Temple
  4. Cisc – Halcyon (Famine Remix)
  5. M00nbASS – 0=3 (Bugs Crawling Out of People Remix)
  6. Lucidstatic – aux8 (Valvegod Remix)
  7. JonBob – Gyruss 1983
  8. It-Clings – Santorum (The Hottest Thing You’ve Heard in a Long Time Mix by Razor Edge)
  9. Adolf Glitter – Time After Time (Cyndi Lauper Remix)
  10. Vicious Alliance – Let’s Bash These People Up
  12. Famine – Cortruisse (Jaymez Remix)
  13. Baptism of Stains – Nothing Isn’t
  14. Notaform – This is Love Too
  15. Vaginal Rippage – Like Freshly Fallen Snow
  16. Dedtek – Sin Eater (Cut & Grind Mix)

Bugs Crawling Out of People Website http://bugscrawlingoutofpeople.com
Bugs Crawling Out of People MySpace http://www.myspace.com/bugscrawlingoutofpeople
Bugs Crawling Out of People Facebook http://www.facebook.com/bugscrawlingoutofpeople
Bugs Crawling Out of People Twitter http://twitter.com/bugscrawling
Bugs Crawling Out of People Bandcamp http://bugscrawlingoutofpeople.bandcamp.com
Ilker Yücel (Ilker81x)

Jun 2011 20

Cover Image
Category: Industrial
Album: Coda
Stars: 4
Blurb: “Rise from your grave.”


In the two years since officially retiring SMP with the bookending remix album Pissing on the Legacy, Jason Bazinet has kept exceptionally busy with an exhausting tour schedule. Moving from the front of the stage to behind a drumkit, Bazinet supported Chemlab and 16volt as well as Front Line Assembly’s European tour. Thankfully, that time on the road rekindled Bazinet’s flame of creativity and breathed new life into the formerly deceased SMP.

From the start, this definitely feels like a rejuvenated SMP, presenting a somewhat stripped down but purer blend of coldwave, industrial, hip-hop, and punk in that unmistakable style. Appropriately starting with the track produced for the very successful Electronic Saviors compilation, which also started Bazinet writing again, “Stay Sick” smartly skewers the for-profit healthcare system of the U.S.. One of the finest tracks of the album, “Run” teams Bazinet up with Penal Colony’s Dee Madden and Stromkern’s Ned Kirby to swap off microphone command duties as Stiff Valentine’s Chris DeMarcus makes an equally huge impact with his heavy guitar work. “Anna’s Song” and “No Space” should be significant treats to longtime fans with their rhythmic focus and grim hooks at times feeling like a glimpse back at the Stalemate days. Once again showing off some punk rock leanings, SMP covers the Circle Jerks track “Paid Vacation” in this outing. The song fits Bazinet’s lyrical style quite well and is a much cleaner and better produced version of the track, but it is still straight-up punk and doesn’t show much of the trademark SMP sound apart from the vocals, making it feel a bit out of place.

While the resurrection of SMP is anything but disappointing, some may find some disappointment in the length of this return album, though it is easily made up for by the consistent quality throughout. With only half the number of tracks as most of SMP’s discography, Coda is definitely short, but feels like a much more lean and focused album that has boiled SMP down to its most important and best parts. Full of attitude, intelligent biting lyrics, and infectious hip-hop inspired rhythms, make no mistake about it; SMP is back to kick some ass.
Track list:

  1. Stay Sick (Album Version)
  2. Run
  3. The Knife
  4. Anna’s Song
  5. Corporate Lunch
  6. Paid Vacation
  7. No Space
  8. Stay Sick (64K Mix)

SMP Website http://www.smphq.com
SMP MySpace http://www.myspace.com/smphq
SMP Facebook http://www.facebook.com/pages/SMP/136370378189
SMP Twitter http://twitter.com/smphq
Music Ration Entertainment
Purchase at:
Amazon MP3
Trubie Turner (Flexei)

Jun 2011 20

Red This Ever - Orchestral Manoueuvres in the Red
Red This Ever
Category: Goth / New Wave
Album: Orchestral Manoueuvres in the Red
Stars: 3.5
Blurb: A remix album that explores a variety of influences while showing the strength of the source material.


A follow-up to its strong debut album Selfless, and precursor to its second full-length album, Never Listen, the remix album, Orchestral Manoueuvres in the Red acts as an excellent companion to the debut with a strong collection of remixes and alternative versions from that initial release. With some strong material to build from, this remix album does a excellent job of taking the strong ‘80s influence of Red This Ever, and giving it a thorough electronic tweaking.

The Val Cain remix of “Never Find My Way” kicks off the album in excellent fashion, utterly transforming the track into a stunningly beautiful and sorrowful track with its haunting piano work and excellent rock guitar flairs. Other mixes like DJGXs Modified mix of “Giveaway” and the reKombinant vs. The Volcano remix of “Flashcard” give their respective tracks a bit of an EBM makeover, making them viable club tracks. Further transforming the work, Retrogramme’s remix of “Irresistable” takes things into the realms of synthpop with its light and poppy restructuring, while the two remixes of “Selfless” work in more of a darkwave feel, resembling work from The Last Dance and The Crüxshadows. Despite its many strengths, there are also a few weaker moments on the album. Dharmata 101’s Psyche Sandwich remix of “Nobody” mixes in a drum & bass style that simply doesn’t mesh with the vocals and comes across as rather awkward, and the very bare bones versions of “Nobody” and “Flashcard” feel a bit out of place in this album of complex and intricate mixes, leaving the album on a bit of a down and disappointing note.

For anyone who enjoyed Red This Ever’s debut album, Orchestral Manoueuvres in the Red is a definite must buy. As with any remix album, the quality of each track varies, but on average, the various remixers have done a wonderful job of reinterpreting and putting a new spin on some already quality tracks, and in a few cases improve on the originals. While some of Red This Ever’s ‘80s charm may have been a bit lost in the wash, this remix album shows that the band’s work does not need the crutch of nostalgia to capture its audience.
Track list:

  1. Never Find My Way (ValCain Remix)
  2. Giveaway (Modified Mix by DJGX)
  3. Nobody (Psyche Sandwich Remix by Dharmata 101)
  4. Selfless (Attrition Remix)
  5. Flashcard (reKombinant vs. The Volcano Remix)
  6. Irresistible (Retrogramme Remix)
  7. Where Are You? (Pre-Release)
  8. Selfless (Proton Midi Edit)
  9. Nobody (Nocturne Version)
  10. Flashcard (Acoustic Version)

Red This Ever Website http://redthisever.net
Red This Ever MySpace http://www.myspace.com/redthisever
Red This Ever Facebook http://facebook.com/redthisever
Red This Ever Twitter http://twitter.com/redthisever
Red This Ever ReverbNation http://reverbnation.com/redthisever
Purchase at:
Amazon MP3
Trubie Turner (Flexei)

Jun 2011 20

Cover Image
Dream into Dust
Category: Industrial
Album: Counterfeit
Stars: 3.5
Blurb: After seven years, Dream into Dust returns with an EP that takes them further into realms of sonic exploration and melancholic dread.


The duo of Derek Rush and Bryin Dall have for the past decade been lingering in the deep underground recesses of industrial music, combining melancholic melody, alchemical acoustics, and decrepit dystopias of sound that evoke some of the most emotionally devastating moods this writer has ever heard. With 2003’s The Lathe of Heaven, Dream into Dust presented a nightmarishly beautiful musical conception that was as familiar in its basic song structures as it was alien in its production. After seven years, Rush and Dall return with a six-track web release, the Counterfeit EP, offering six versions of some of the most exploratory material the pair have yet conjured.

Before the first 30 seconds of the de facto original mix of “Counterfeit” are past, Dream into Dust already demonstrates a new dynamic as distorted glitches and breakneck beats inspired by dubstep and drum & bass underscore layer upon layer of grating bass and industrialized noise. All the while, Rush’s emotive tenor weaves lyrical apocalypse as only the best of poets can, showing little restraint and creating a track of disturbing urgency. The following mixes explore the sonic territories marvelously, from the speedy mayhem of Dall’s own Breakneck mix to the dance floor-friendly fury of Angztek Industries’ Dirty Money mix, and onto the Vintage mix by Prequel, which transforms the song into a lovely bit of ‘80s-inspired new wave with its twinkling synth melodies and gritty bass guitar. Theologian’s Parasite mix provides an epic conclusion to the EP with almost nine minutes of viciously cacophonous soundscapes that can be quite jarring on the uninitiated listener, but will be quite rewarding for those with the mental stamina to endure.

Even the corresponding music video to the song – available to be viewed on YouTube – is a mélange of discordant imagery befitting the song, and detailing (perhaps facetiously, yet intriguingly nonetheless) Rush’s and Dall’s studio process to create so varied a piece of music. Whether the Counterfeit EP is indicative of the sonic pathways Dream into Dust will travel down on upcoming releases remains yet to be seen. At least until then, listeners have this small bit of somber atmosphere and raging experimentation.
Track list:

  1. Counterfeit (Web Mix)
  2. Counterfeit (Deviation Mix)
  3. Counterfeit (Breakneck Mix)
  4. Counterfeit (Dirty Money Mix)
  5. Counterfeit (Vintage Mix)
  6. Counterfeit (Parasite Mix)

Dream into Dust Website http://www.dreamintodust.com
Dream into Dust MySpace http://www.myspace.com/dreamintodust
Dream into Dust Facebook http://www.facebook.com/dreamintodust
Dream into Dust SoundCloud http://soundcloud.com/dreamintodust
Chthonic Streams Website http://www.chthonicstreams.com
Chthonic Streams Twitter http://twitter.com/chthonicstreams
Ilker Yücel (Ilker81x)

Jun 2011 20

Cover Image
Trent Reznor and Atticus Ross
Category: Soundtrack / Ambient
Album: The Social Network
Stars: 5
Blurb: A work of abstract ambient brilliance, and a superb complement to the film it scores.


Trent Reznor is no stranger to soundtracks; while Nine Inch Nails has been his primary outlet for well over two decades, propelling the man and his music to the heights of mainstream stardom and bringing even the basic notions of industrial music to the public, he has always maintained an ear for creative experimentation. Having famously produced the soundtracks for Natural Born Killers and Lost Highway, as well as recording music and sound effects for the popular video game Quake, Reznor’s knack for melodic atmosphere and bleak ambience lends itself to the soundtrack format. David Fincher’s award-winning 2010 film The Social Network portrays the founding of Facebook and the subsequent legal pitfalls faced by founder Mark Zuckerberg; Fincher, having famously used NIN in the opening credits to his film Se7en and employing The Dust Brothers to create the edgy score for Fight Club, is also no stranger to using unconventional forms of music to augment his film’s atmospheres. With Reznor and Ross at the helm for the soundtrack to The Social Network, it seems a match made in some silicon-laden heaven.

As to be expected from Reznor and Ross, The Social Network score runs a gamut of musical modes and emotions, all driven by a decidedly electronic yet organic display of production and atmosphere. Beginning with the somber piano melody and gyrating sonic blur of “Hand Covers Bruise,” the entire affair starts on a sparse note of introspective melancholy befitting the film’s themes of isolation and emptiness in social upheaval. Later pieces reinforce these moods, such as in “It Catches Up with You,” a sustained guitar hovering beneath more disquieting pianos that resonate into the ether. Similarly, the fluttery piano of “Penetration” steadily building to a mild but effective crescendo segues nicely into the Wendy Carlos-esque rendition of Grieg’s “In the Hall of the Mountain King.” Other tracks like “In Motion,” “Intriguing Possibilities,” “Painted Sun in Abstract,” and “Complication with Optimistic Outcome” move with rhythmic intensity, the energetic bass sequences giving rise to delightfully dissonant melodic accompaniment, perfectly evoking the film’s moments of tension and anticipation. And then we hear tracks like “On We March” with its ominous cadence reminiscent of “The Wretched” off The Fragile, the distorted glitch-riddled tapestry of “Carbon Prevails,” or “3:14 Every Night” with its skittering sound effects and nightmarish ambience, all creating a feeling of unease and mental instability essential to the film’s primary figure.

Given the style of the music, juxtaposing organic and synthesized sound into a framework of avant-garde ambient vignettes, it’s no surprise that the music on The Social Network is eerily similar in tone to the Ghosts I-IV collection released in 2008; indeed the tracks “Magnetic” and “A Familiar Taste” are reworked from that very set, Trent Reznor and Atticus Ross have crafted a fine album of music with The Social Network, standing on its own as a work of abstract ambient brilliance, and also working superbly as instrumental accompaniment and complement to the film and its subject matter. Credit must be given to David Fincher for approaching Reznor with the prospect of scoring his movie when the standard Hollywood route of a traditional orchestral score would have likely been a simpler, though far less adventurous path to take. Having by this time won the Academy Award for Best Original Score, Reznor and Ross have undoubtedly hit a creative and commercial peak, bringing their unconventional musical vision to the masses with fantastic results.
Track list:

  1. Hand Covers Bruise
  2. In Motion
  3. A Familiar Taste
  4. It Catches Up with You
  5. Intriguing Possibilities
  6. Painted Sun in Abstract
  7. 3:14 Every Night
  8. Pieces Form the Whole
  9. Carbon Prevails
  10. Eventually We Find Our Way
  11. Penetration
  12. In the Hall of the Mountain King
  13. On We March
  14. Magnetic
  15. Almost Home
  16. Hand Covers Bruise, Reprise
  17. Complication with Optimistic Outcome
  18. The Gentle Hum of Anxiety
  19. Soft Trees Break the Fall

The Null Corporation Website http://www.nullco.com
The Null Corporation MySpace http://www.myspace.com/thenullcorp
The Null Corporation Facebook http://www.facebook.com/pages/The-Null-Corporation/109224022437311
The Social Network Website http://www.thesocialnetwork-movie.com
The Social Network Soundtrack Website http://www.nullco.com/TSN
Purchase at:
Amazon CD
Amazon MP3
Amazon Vinyl
Ilker Yücel (Ilker81x)

Jun 2011 20

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Funker Vogt
Category: Industrial
Album: Arising Hero
Stars: 3
Blurb: A nice, diverse single spawned from Funker Vogt’s latest album, Blutzoll.


The first track from Funker Vogt’s latest album Blutzoll is also the first to get the single treatment, giving two peeks at tracks included on the full-length. Tapping a variety of other artists and producing some of their own alternate versions, these eight tracks make for a beefy sampling of Funker Vogt’s signature brand of aggressive club tracks.

Since this is a single for “Arising Hero,” understandably the majority of the focus is on that track with six different versions of it to be found. “Arising Hero – Redemption” and “Arising Hero – Revolution” present two largely instrumental dance versions of the song with “Redemption” taking on a softer, almost futurepop feel while “Revolution” takes on a much edgier tone. Rotersand and Komor Kommando each offer interesting takes on the track with Rotersand adding some nice complexity to the song while Komor Kommando literally gives the song a much more militant feel, complete with samples of gunfire and drill commands. Noblesse Oblige also does some fantastic work with their mix of “My Innermost,” which completely rebuilds the track so naturally that one would assume it is how the song was originally intended to sound.

Though there aren’t any original B-sides to be found on Arising Hero, the range and variety of mixes stretches the two tracks from the album surprisingly far. Though it still does get a bit repetitive and not all the different versions are equally well done, for fans of the group these eight tracks are definitely worth some investigation. However, those who continue to criticize the band for their lack of variety will likely use this as ammo for their mockery since it is considerably more diverse than the average Funker Vogt album.
Track list:

  1. Arising Hero (Club Mix)
  2. Arising Hero (Rotersand Rework)
  3. Arising Hero – Redemption
  4. My Innermost (Noblesse Oblige Remix)
  5. Arising Hero (Faderhead Remix)
  6. Arising Hero – Revolution
  7. Arising Hero (Factory Mix by Komor Kommando)
  8. My Innermost (Loop Mix)

Funker Vogt Website (English) http://funker-vogt.com
Funker Vogt Website (German) http://www.funkervogt.de
Funker Vogt MySpace http://www.myspace.com/funkervogt
Funker Vogt Facebook http://www.facebook.com/home.php?#!/pages/Funker-Vogt-offiziell/103288856405305
Metropolis Records Website http://www.metropolis-records.com
Metropolis Records MySpace http://www.myspace.com/metropolisrecords
Purchase at:
Amazon CD
Amazon MP3
Trubie Turner (Flexei)

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