Two tracks from UK singer/songwriter Ed Harcourt’s seventh album, Furnaces – “Dionysus” and “The World Is On Fire” – are available now as “instant gratification” downloads with pre-orders for the album, available now on iTunes. Harcourt states that he “wanted to make a record that people can cry, fuck, and fight to.” He continues, “I don’t think there are many records out like that at the moment [..]
Synth/electro-pop entertainment website Electrozombies has announced the release of the first Apoptygma Berzerk tribute compilation, titled Apop We Love You. The album’s 20 tracks include submissions by Machinista, Vogon Poetry, Twisted Destiny, IIOIOIOII, and Technomancer featuring Angst Pop (former Apoptygma Berzerk member Aksel Lundgreen). [..]
Saffron, best known as the lead singer of Republica and the voice behind ’90s electro/rock anthems “Ready to Go” and “Drop Dead Gorgeous,” has been announced as the Sunday headliner of Sexhibition. The three day “Erotic event of the year” features music, burlesque, cabaret, performance art, and more in a sex positive environment. Sexhibition runs from August 19 – 21 [..]
Daniel Neet – vocalist/programmer for coldwave icons Clay People and Iron Lung Corp. – has announced that he is moving his art and music operations to Chicago, the home of industrial music in the United States. To help facilitate the move, he has launched an IndieGoGo crowdfund campaign [..]
Blurb: With a blindsiding appearance by Wes Borland, this single may be seen as a turning point in Combichrist’s sound and possibly career… for better or for worse.
Featuring six versions of the title track and a solitary B-side, “Parental Content,” the Scarred single marks the final release of the Today We Are All Demons era of Combichrist.
Surely, some will do a double-take when they bear witness to the single version, as not only is it chockfull of shrieking, stuttering guitars, but that the six-stringer is wielded by none other than Wes Borland of Limp Bizkit. Along with its militant drum march, these newfound rock elements are certainly an interesting turn to Combichrist’s trademark rage. In contrast, with its buzzing vocals, slick synth work, and steady bass pulse, the club version seems set to satiate any who hunger for a flashback to the project’s earlier, EBM-friendly days. However, if robotic vocals don’t suit one’s palate, the whizzing rave-whistles of the clap-along Pull Our Kings remix is certainly a similar alternative. Beyond this decent selection of alternatives and remixes, lastly there is this EP’s bland exclusive core, “Parental Content.” Like much of the content of the limited edition second discs to their early albums, its a loop-heavy piece of vaguely danceable noise and beats, wholly instrumental save for the over-repeated television warning whose diction should be clear to anyone upon hearing the title.
Despite this bit of filler and some adequate remixes, this ostentatious stomper is a decent sampling from this era in their sound, and as the appearance of Borland may indicate, their inevitable transformation from a dance outfit to an electro-rock force.
Combichrist Website http://www.combichrist.com
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Combichrist Twitter http://twitter.com/combichristarmy
Metropolis Records Website http://www.metropolis-records.com
Metropolis Records MySpace http://www.myspace.com/metropolisrecords
Vlad McNeally (Vlad_M)