Since 1997, the duo of Clayton Worbeck and Josh Bradford has been steadily building their reputation in the industrial rock underground for their enigmatic image and varied musical abilities. They are perhaps most well known for their recent collaborations with Al Jourgensen, touring with Revolting Cocks in 2006 on the MasterbaTour before being made official members to carry the mantle through the Sex-O Olympic-O and Got Cock? albums. Shortly thereafter, Worbeck and Bradford, along with RevCo collaborator Sin Quirin began work on a new band, The Great AmeriCon, with a debut album on the cusp of a release in mid-2011. Beyond this, Worbeck has also earned accolades for his remixing skills, appearing on releases by Ministry, Filter, and Prong, as well as the soundtrack to Saw V. In the same vein, Bradford has become well known as an eccentric and exciting performer, both for his wild persona onstage and his Simple Shelter music and video presentations. However, the pair’s musical journey began in their homeland of Canada with their industrial rock band, Stayte. As Stayte has lingered just under the radar of the underground music scene for well over a decade, Worbeck and Bradford maintained a slow but steady pace of production, self-releasing their fourth album, The Two Sisters, in 2010.

 

It is not unusual – even before the advent of the technological age – for a band of musicians to record their misadventures performing shows, traveling from city-to-city and state-to-state, encountering odd characters, wreaking havoc and creating mischief afterhours, living off of every last penny to fulfill the “dream” of rock stardom. One need only watch films like Fubar and Anvil, or even the behind-the-scenes footage that is included almost universally on every live video release for proof; and why not? For fans to experience the lives of their musical heroes, if only peripherally, is an incredibly enticing and alluring notion – to live vicariously the life of a rock star, something few of us get to understand or appreciate for ourselves. So with the DVD release of Walking in the Land of Wind and Ghost, Bradford and Worbeck present to audiences 12 years worth of video footage documenting their voyage from the depths of obscurity and youthful idealism and despair to the highs of worldwide acclaim and the fulfillment of perseverance and the inevitable emptiness of success, all condensed into little over an hour… and what a presentation it is!

 

It would be useless to breakdown or synopsize Walking in the Land of Wind and Ghost; one need only watch the film to realize the enormous amount of activity, hardship, turmoil, pain, and ultimate pleasure that Bradford and Worbeck have endured over the course of 12 years. With Bradford narrating in a somber and sober intonation that perfectly captures the comedy and the contemplation of so odd an odyssey, there are moments that are as hysterical as they are heartbreaking, from the image of Bradford eating a corndog and playing with insects on a dirty kitchen floor in a dilapidated apartment to the band at one point utilizing an inflatable penguin as their de facto manager (yes… seriously) to an introspective moment in which Bradford sits in the sand on the side of a highway during a short period of departure from the band, and even a (thankfully for those with weak stomachs) brief montage in the outtakes of the various scars and cuts the band has suffered through. But again, none of this is presented without a sense of humor, albeit a sardonic and slightly jaded one. Bradford acknowledges Perry Farrell’s influence on his performance style and stage persona, expresses his and his cohorts’ pride in their Canadian roots – remarking on the lower drinking age and affinity for hockey and hiking, and consistently reminds viewers (as he does audiences at their shows) to thank “Joe’s ass.” One of the film’s final images – Bradford sitting alone and waiting in what is apparently a French police station – acts as apropos summary for the film, at once funny, pitiable, and sympathetic. Adding to the humor and to the music are plenty of extra DVD features, including three music videos and plenty of footage not included in the final film.

 

Of course, it wouldn’t be a proper rockumentary without the band’s music to supply the soundtrack. Featuring 12 years worth of music from Bradford’s and Worbeck’s various projects over the years, the soundtrack is an amalgam of the hard-hitting industrial rock assault that is Stayte, the atmospheric electro/goth of Bradford’s Simple Shelter, to the funky disco/industrial of The Total Phuken Muncho (a band whose short history is touched on in the film). Naturally, the soundtrack album can only offer the smallest sample of 14 tracks, with the radio edit of “The Two Sisters” and the remix of “Slip Your Mind” offering perhaps the loudest and most epic and bombastic musical moments with thundering percussion, layers of guitars and synthesized noise, and Bradford’s high-pitched, frenetic, and explosive vocals. “On Your Way Down” introduces the album with a finely paced piece of atmospheric industrial rock as Bradford’s vocals denounce materialism; a fine prologue to some of the themes touched on in the film. The quirky dark electro of Simple Shelter’s “1980” is one of the more sonically interesting moments, lost somewhere between ‘80s retro and ambient electroclash acidity. “Journey to Days End” and “In Awe” are the almost obligatory somber acoustic tracks that evoke simultaneous triumph and defeat, pleasure and pain, sadness and discovery, but they succeed on these levels so well that their all-too-familiar flavor is hardly a deterrent, though they work better within the context of the film and as songs unto themselves than as elements to the soundtrack album. The opposite can be said of “Only You,” a darkly atmospheric and gothic ode to a fallen friend who played a key role in Stayte’s early years, the synthesized pad swirl and Bradford’s restrained vocals providing an elegiac eulogizing quality to the song. On the more playful side of things is The Total Phuken Muncho’s “The King of Funk,” which struts by with a highly rhythmic beat and bass line that make the song just too damn catchy to not dance to.

 

Walking in the Land of Wind and Ghost (Original Motion Picture Soundtrack)

1. Stayte – On Your Way Down
2. Stayte – Face the Maze
3. Stayte – Slip Your Mind (Wind and Ghost Mix)
4. Simple Shelter – 1980
5. The Total Phuken Muncho – The King of Funk
6. The Total Phuken Muncho – Surrender
7. Stayte – The Two Sisters (Radio Edit)
8. Simple Shelter – System Error
9. Simple Shelter – Journey to Days End
10. Stayte – Ask Me on Monday (Wind and Ghost Mix)
11. Simple Shelter – Only You (Song for Azaria)
12. Stayte – The Space Between
13. Simple Shelter – In Awe
14. The Total Phuken Muncho – Message from The Total Phuken Muncho

 

It’s difficult to say if there are any lessons to be gleaned from Walking in the Land of Wind and Ghost – obviously, Josh Bradford’s and Clayton Worbeck’s perseverance in pursuit of their dream of rock stardom did allow that dream to come to fruition, but as evidenced by the final 10 minutes of the film, the success came at a price, leaving both the band and audiences to ponder the meaning to be found in all of it. One could simplify Bradford’s often humorous, occasionally sullen, always insightful commentary on the 12 years covered in this film down to the cliché of “It’s the journey, not the destination.” This is certainly applicable, but the straightforward tone of the film carries a certain weight that is both entertaining and insightful, allowing the viewer to discern other interpretations relevant to the individual – in the end, is that not the function of true art?

 

Purchase at…
The Stayte Webstore

Purchase the DVD at…
Amazon.com

Purchase the soundtrack at…
Amazon MP3
CDBaby
 
2010 / 2011
 
Ilker Yücel (Ilker81x)

It was a rainy Friday night in Philadelphia. Amid the umbrella toting rabble on South Street, you could make out a select few determined revelers, dressed mostly in black, making their way to the Theater of the Living Arts. August of 2011 saw the industrial juggernauts known as KMFDM rolling across North America, at a nearly nonstop pace of 22 cities in 25 days, in support of the WTF? release. Inside the TLA, DJ Mighty Mike Saga was doing his best to get the evening underway with a mix of dark electro and ‘80s dance tracks.

 

Human Factors Lab took the stage with a mixture of harsh electronics, chunky guitar riffs, and really pissed off male vocals courtesy of the imposing front man Sev3n Factor. Their set was punishing and aggressive, complete with evil clown makeup and an angle-grinder shooting sparks into the crowd. After a few hate-filled songs, some of the members switched off to other instruments. I’d say those guys were pretty damn lucky to get to go on tour with KMFDM; maybe we will see good things from them in the future?

 

Army of the Universe took the stage to a mildly enthused, half full audience who may not have known who they were. But the moment they began playing, everyone took notice and people began to gather near the stage. They had a remarkable sound, a catchy combination of visceral electronic sequences, pounding danceable rhythms, gritty guitar riffs, and live drums from the multi-talented Chris Vrenna (Nine Inch Nails, Marilyn Manson, Tweaker). Front man Lord K radiated glam rock coolness with a vocal performance that alternated between distorted whispers and Bowie-esque dramatic choruses. “LoveDead” and “Hollywood Drama” sounded like sleazy funky electro, while “Mother Ignorance” had an aggressive industrial rock sound. They did a great cover of Bjork’s “Army of Me,” and made a lot of new fans that night.

 

Then, the main event…

 

Moments before KMFDM takes the stage, if you are a longtime fan, your mind might wander back… back to when you were a rebellious youth, wearing the KMFDM T-shirts, surrounded by the KMFDM posters on your wall, blasting your eardrums with their angst-filled sounds. Only you and your cool friends knew who they were. Their albums were so secret, you had to wait weeks for it to arrive via mailorder catalogs. They were ahead of the curve and against the mainstream. They also never sold out or got soft, a fact which you are reminded of as the lights begin to flicker, and everyone around you starts screaming in unison.

 

They waste no time, launching into the single “Krank.” The riffs are powerful and choppy as always, with Jules Hodgson and Steve White flanking the stage on both sides. The mastermind of mayhem, Sascha Konietzko in the flesh, paces back and forth barking orders to his troops: “Pick up and rise!” “Krank it to 11!” making a Spinal Tap reference. The affable Andy Selway beats mercilessly away at the drums, a flawless whirlwind of energy. Lucia Cifarelli is bold and beautiful as always, offering up “Amnesia” and “Dystopia” as she sways gracefully across the stage. She casts a spell on the entire crowd and works spectators into a fist-pumping frenzy on “Rebels in Kontrol.” Along with most of the new album, they graciously added some older crowd favorites like “A Drug Against War,” “Bait & Switch,” and even had special guest William Wilson (Legion Within) lend his vocal stylings on the tracks “Spectre.”

 

The “rebels” were indeed in control that night. The enthusiastic crowd begged for more and was treated to an encore of “D.I.Y,” “Day of Light,” and of course “Godlike.” KMFDM most definitely tore the TLA to the ground, giving their fans a night to remember. But it’s all in a day’s work for these musical marauders, who went on to conquer Baltimore the very next night!

 

Lüke Haughwout (Mechanical_Harvest)
Photographs by Mandi Martini (Mandi_Martini)

 

KMFDM – “KRANK”

KMFDM – “Rebels in Kontrol”

KMFDM – “D.I.Y.”

Army of the Universe – “Mother Ignorance”

Army of the Universe – “Goodnite”

Video by Lüke Haughwout (Mechanical_Harvest)

To view more videos, please visit our YouTube page.

Psy’Aviah
Category: EBM / Industrial
Album: Eclectric
Stars: 4
Blurb: Not quite as eclectic as the title might hint, but Psy’Aviah still rocks it out as always.

 

The title is a bit misleading, as moving between upbeat EBM/industrial to down-tempo electro/industrial isn’t exactly a fitting definition of “eclectic.” But a misnomer can be forgiven when stacked up against the sound itself. Psy’Aviah delivers high energy sound with an excellent dark edge with their new album Eclectric. Perhaps by “eclectic,” Psy’Aviah is referring to eclecticism within the genre of EBM; sometimes smooth and moving, sometimes harsh and in-your-face, Psy’Aviah wraps its arms around the EBM genre and uses every side of it for their third release in four years.

The music of the album keeps a dark EBM feel, but varies slightly in style between dance/club and darker down-tempo, between minimal repetitive vocals and critical ones. Emélie Nicolaï’s vocals are at once sultry and powerful, Yves Schelpe’s mixing is spot-on, and Kristof De Clerck’s guitar can remain atmospheric and stab into the midst of things exactly when it’s needed. Psy’Aviah shows a magnificent variation in beat across the album (perhaps this is the eclecticism?), from the complex drumming of “Attract/Reject” to the straight-up club beat of “Twisted Mind.” Songs “Sweet Hard Revenge,” “Paranoid,” and “Fear (Practice)” are engaging and powerful. “Something Evil” and “Blackhole” are smooth and critical, while “Rivotril Nights” is magnificently ethereal and down-tempo. Psy’Aviah also makes excellent choices in special appearances. Guest vocalist Jennifer Parkin of Ayria is powerful in the song “Into the Game,” and truly nothing compares to the vocals of Front 242’s Jean-Luc De Meyer on “Ophélie,” even if he’s just reading a poem by Rimbaud. The repetitive nature of some of the songs makes the music drag a bit, but fortunately Psy’Aviah’s sheer talent makes up for this stumbling block.

Psy’Aviah holds their ground as one of the strongest new bands in the genre. Perhaps future works will display a true eclecticism; for now, though, we’re happy with what they give.
 
Track list:

1. No Excuse
2. Keep Hope Alive
3. !AllAboutYou
4. Something Evil
5. Anger Management
6. Attract/Reject
7. Paranoid
8. Blackhole
9. Ophélie (feat. Jean-Luc De Meyer)
10. Sweet Hard Revenge
11. Into the Game (feat. Ayria)
12. Twisted Mind
13. Fear (Theory)
14. Fear (Practice)
15. Rivotril Night

 
Psy’aviah Website http://www.psyaviah.com
Psy’aviah MySpace http://www.myspace.com/psyaviah
Psy’aviah Facebook http://www.facebook.com/psyaviah
Psy’aviah Twitter http://twitter.com/psy_aviah
Alfa Matrix Website http://alfa-matrix.com
Alfa Matrix MySpace http://www.myspace.com/alfamatrix
Alfa Matrix Facebook http://www.facebook.com/Alfa.Matrix
Alfa Matrix Twitter http://twitter.com/alfamatrix
 
Purchase at…
Amazon CD
Amazon MP3
 
2010-03-19
 
Zak Vaudo (Chaostar)

Twice a Man
Category: Electronica
Album: Icicles
Stars: 3
Blurb: An extremely pleasant but somewhat uneven mixture of ambient and synthpop that is sure to appeal to fans of classic new wave.

 

With 30 years and 16 albums worth of experience under their belt, Swedish act Twice a Man takes things in a new direction, channeling their history of ambient work into a slightly more pop oriented focus. While the more experimental style and classic synth leanings are readily apparent in Icicles, at times resembling classic work from both Gary Numan and Psychic TV, the synthpop elements give the album a more accessible and modern feel. However, though this mixing of styles does offer a unique and interesting presentation, it also occasionally presents a few structural problems that may make the album a little harder to digest.

Showing these structural issues from the start, throughout the opening track, “A Letter,” it feels like Twice a Man is building up to something, but the reveal never happens and the track just fades out in unsatisfying whimper. The problems continue with “Everything is Possible,” which is a somewhat repetitive and uninteresting track with vocals that feel like more of an afterthought slapped on top. Thankfully, things begin to lookup with “Wandering,” as the tracks start to feel less like a constant stream of bridges to nowhere and instead begin to incorporate some memorable choruses, with a half ambient, half synthpop mixture that results in a sound that one second will remind the listener of avant-garde acts like Psychic TV, and the next feel more like new wave acts such as Soft Cell. The are even the mellow and lovely ballads “Tranquil Moonlit Lake” and “Fearless in the Rain” that hit a vibe similar to the classic Gary Numan track “Please Push No More” with their melancholy vocals, sweet piano melodies and subtle incorporation of electronics.

Icicles is an exceptionally admirable mixing of genres, but its resulting flavor doesn’t quite come out as expected and may take some getting used to. Though it does walk the line between synthpop and ambient work, the song structure is unlikely to be appealing to sythpop fans due to its lack of strong hooks or steady beat and fans of ambient music may find the album to be a bit too sugary and vocal heavy to meet their expectations. However, even though it may throw off fans of both genres it draws from, Icicles strangely seems like a perfect fit for fans of ‘80s new wave acts, but doesn’t at all feel like a throwback or rehash of the work of that decade.
 
Track list:

1. A Letter
2. Everything is Possible
3. Wandering
4. Walls
5. Tranquil Moonlit Lake
6. Follow a Simple Path
7. Something Else
8. Where Are You Now?
9. Fearless in the Rain
10. Moon

 
Twice a Man Website http://www.twiceaman.com
Twice a Man MySpace http://www.myspace.com/twiceaman
Xenophone International
 
Purchase at…
Amazon CD
Amazon MP3
 
2010-04-30
 
Trubie Turner (Flexei)

Suicidal Romance
Category: Synthpop
Album: Shattered Heart Reflections
Stars: 2
Blurb: Average and predictable, Suicidal Romance’s Shattered Heart Reflections is a strange mixture of blandness and fairytale.

 

Estonia’s Suicidal Romance has created a pretty image for itself, all gothic and stylish, but they essentially make fairytale music with a few heavy beats and throat-stripping backing vocals thrown in to seem edgy. Dmitry I has some musical skill and his vocals can be quite intriguing in their intensity. There are even a few moments of originality that manage to break through. However, Maarja Korstnik’s lyrics are so typical and girlish they teeter on the edge of clichéd: love, falling, spinning, dying, flying, and Viktoria Seimar’s bland, soprano-locked vocals are a distraction.

Shattered Heart Reflections begins with a 24 second instrumental “Interlude” that leads straight into “Touch,” a romantic duet between what sounds like a princess and a demon of some sort. “Words that Change Everything” starts with a strong rhythm, introduces some synth, adds some more commonly used percussion loops and unintelligible vocals by Dmitry, and then, just as you start nodding your head to the beat, Seimar starts singing about fate and love and fear. Huh? It’s like the song diary of a junior high school goth. The same formula is applied to the majority of the rest of the songs – beat, fade in the synths, Dmitry, and then fairy-princess vocals. “Dreamers” would actually be perfect for a modernized stage version of a fairytale where the heroine has escaped her tower and is making her way through the dark woods, singing her thoughts to the nocturnal animals. It is only when they get to the final song on the album, the title track, that Suicidal Romance stops singing and focuses on what the band does best: make music to dance to.

There are some good things about Suicidal Romance’s music. Every song has a strong beat, good use of synths, and is very danceable. Although done a million times before, Dmitry I’s scratchy, screaming vocals work well with the music. The real problem is the very prominent featuring of a very average singer and lyrics that are even too girly for… well, a girl. They might want to consider writing a song that drops the lead vocals below the soprano range.
 
Track list:

1. Interlude
2. Touch
3. Words That Change Everything
4. Make Me Blind
5. Love Stays the Same
6. Her Song
7. We’re Wanting More
8. Dreamers
9. Build Me a Heart
10. Shattered Heart Reflections

 
Suicidal Romance Website http://suicidal-romance.com
Suicidal Romance MySpace http://www.myspace.com/suicidalromancemusic
Suicidal Romance Facebook http://www.facebook.com/SUICIDALROMANCEofficial
Metropolis Records Website http://www.metropolis-records.com
Metropolis Records MySpace http://www.myspace.com/metropolisrecords
 
Purchase at…
Amazon CD
Amazon MP3
 
2010-05-25
 
Charity VanDeberg (CharityV)

Lugburz
Category: Ambient
Album: Songs from Forgotten Lands
Stars: 2
Blurb: Music to raid a dark tower to, Songs from Forgotten Lands lacks mass appeal.

 

Lugburz’s ambient album Songs from Forgotten Lands is pretty much what you’d expect from a collection of music inspired by Lord of the Rings. There are sound effects, creepy chanted vocals, and plenty of epic battle music. However, it is basically useless unless you are planning a raid on the closest evil wizard’s castle or maybe a themed costume party. Perhaps the composer, Sathorys Elenorth, had hoped to get his big break in movie soundtracks.

In all seriousness, this album is completely based on the worlds of Tolkien. In fact, the word Lugburz actually means “black tower” in Black Speech, one of the Middle Earth languages. Opening with “Somewhere in the Middle Earth (Gollum’s Song),” a musical piece featuring slurping and slimy sounds that are meant to represent the repugnant fallen hobbit, it then leads into “The Return to the Dark Ages,” a gloomy windswept landscape inhabited by terrified horse whinnies, chanting, and ominous drumbeats. Then “The Ring Goes to South,” “The Shire,” etc. You get the idea. It’s the story with Elijah Wood and his friend Sam who travel all over with a ring that drives everyone crazy. Do we really need a musical version?

There are many moments of gentle beauty in the Songs of Forgotten Lands. “The Shire” does capture some of the innocence and wonder of a hobbit village. “Morgul’s Night” is very militaristic and menacing with drums leading the charge. “The Riders of Rohan” actually includes sound effects from a horseback battle. “Waters of Nimrodel” is soothing with the sound of flowing water and gentle vocals, but the whispered voice is quite eerie. “Edoras” is the most interesting of the 10 tracks, with violins and angelic vocals, but even this has the overwhelming aura of Middle Earth geekiness. This is simply not an album for anyone who is not into role playing or living in a world populated with Tolkien’s creatures.
 
Track list:

1. Somewhere in the Middle Earth (Gollum’s Song)
2. The Return to the Dark Ages
3. The Ring Goes to South
4. The Shire
5. Morgul’s Night
6. The Riders of Rohan
7. Waters of Nimrodel
8. Towards the Fields of Pelennor
9. Edoras
10. Tears for a New Beginning

 
Lugburz MySpace http://www.myspace.com/lugburzspace
Ars Musica Diffundere / Black Rain Media Group GmbH Website http://www.blackrain.de
Black Rain Media Group GmbH MySpace http://www.myspace.com/blackraind
Black Rain Media Group GmbH Facebook http://www.facebook.com/pages/Black-Rain-media-group-GmbH/178915337013
 
Purchase at…
Amazon CD
Amazon MP3
 
2010-06-04
 
Charity VanDeberg (CharityV)

Septron
Category: Darkwave / Industrial
Album: Wuterguss
Stars: 2.5
Blurb: Wuterguss is a hodgepodge of promising material mixed evenly with meandering noise.

 

After releasing a series of CD-Rs, Septron has finally released their debut full-length album, Wuterguss. A one-man project from Germany, Septron was formed by Bastian Polak around 2007. The band’s style can be summarized best as menacing soundscapes that can be as heavy on the heart as they are on the distortion.

Book-ended by two eerie and instrumental tracks, Wuterguss features a number of songs, such as the mournful “Opfer,” of a slower, more introspective nature. A couple of tracks, including “Blumenwelt,” incorporate piano and nearly escalate to the level of gothic ballads. While much of the record is of a moderately paced and somber nature, Wuterguss does occasionally allow itself a burst of something with more intensity. In particular, “Koma” and “Blender” offer a style that would be much more appealing to fans of the heavier, more danceable fare. Replete with fast beats and pulsing synthetic bass lines, both songs are solid enough to become underground club favorites.

Some impressive points on the album include Polak’s powerful and emotive singing, as well as a diverse selection in sampled elements. And while one should applaud Septron’s frequent eschewing of conventional song structure as well as superfluous vocal effects processing, yet again this writer is confronted with an album that seems to have more than its share of padding. “Alpträume Der Nacht” is as good an example as any. While the track begins with some abstract music and soulful singing, it never really features any variation and slowly decays into breathy noises for nearly a full minute. Some call it art, but I call it filler. If selections such as this were left out of the final cut, it would have made for a much more enticing release.
 
Track list:

1. Intro
2. Koma
3. Aschenland
4. Blender
5. Das Ende Der Welt
6. Blasphemie
7. Opfer
8. Unter Deiner Obhut
9. Blumenwelt
10. Herz Aus Stahl
11. Fremdkörper
12. Der Dialog Mit Dem Tod
13. Alpträume Der Nacht
14. Das Kleine Mädchen Ohne Kopf
15. Die Schlacht
16. Outro

 
Septron Website http://www.septron-music.com
Septron MySpace http://www.mysapce.com/Septron1979
Septron Facebook http://www.facebook.com/Septron
Septron ReverbNation http://www.reverbnation.com/septron
Sonic-X Records
 
Purchase at…
Amazon (De)
Amazon MP3
 
2010-06-04
 
Brian Backlash (BrianBacklash)