If melancholy and hatred of people is something you buy into every now and then, the post witch landscape is yours to traverse. That place is more fucked up than a changeling in the nightosphere but it keeps producing some of the newest dark thoughts of any post-place around. I love to ride the frontiers of bad behavior any chance I can get, so this kind of slow and deep machination is perfect to get me through another day of owning life.
Archive for the ‘dark electronic’ Category
Tactics's Previous Entries
HeatStroke's Previous Entries
I’ve been a fan of Moon Mirror’s music for a couple of years now. She’s a very talented songwriter and producer with a nearly classically trained ear for arrangement. Whether it’s gothic synth pop or a melodious piece for solo piano, her attention to detail and high sonic standards have always shone through.
This past summer she released her first official full length on Aural Sects and, at risk of this article becoming TLDR material, I’m going to let her do the rest of the talking.
HeatStroke: How long have you been making music? What were some of your early influences and first forays into production?
Moon Mirror: I was really interested in classical piano as a kid. My earliest influences were guys like Beethoven and Mozart. I always enjoyed writing songs.
HS: You seem equal parts songwriter and producer. How do you go about constructing songs? Do pre-written vocals inform the sonic palette, or do melodies and chord progressions create the framework for lyric writing?
HS: It may be a well kept secret, but not everyone making a name for themselves URL lives a luxurious “musical artiste” lifestyle IRL. How do you find balance between creating, promoting, performing, and paying rent/eating food/veterinarian bills etc?
MM: I’m less than nobody. It’s a shocker that people anywhere are listening to what I make. It’s the greatest compliment someone like me could receive. I work two jobs, so any free moment I get I try to spend on music. If I could do nothing but lock myself away and work on music I think I’d be producing quite a bit more. I don’t write music that has commercial appeal, I’d be extremely foolish to think I could ever make a living from what I create. I make music because I have to, I would never recommend my lifestyle to anyone.
HS: Where will social media take us in ten years? Apocalyptic levels of self-absorption? A Utopian realm of hyper-individuality? Or will Facebook and Twitter live and die by Millennial’s tolerance for it?
MM: Social media is the only platform for my music. Unlike real life, if you are on social media you are there by choice. Personally, I love the internet. I think it is one of humanity’s most important discoveries. I don’t take it for granted because who knows if it will even be available in 10 years? This is the golden age for internet. It might not last much longer.
HS: How important is collaboration to your work? From cover art, to work with other musicians, to fan feedback etc.
MM: All the collaborations I’ve done have come about simply because I was asked. I’ve been lucky enough to get requests for collabs from producers I really respect. It’s never been something I sought out on my own. There are also times when I’m asked and I can’t say yes. When it comes to cover art I’m hopeless, so I’ll probably always rely on better artists to save me in that department.
HS: What’s next for Moon Mirror? Label, no label? Live shows?
MM: I keep making more music. I’m deep into my next album, which I’m calling Omega. I can’t give too many details but “Raindrops“ will be included on it. No clue how it’s going to be released at this point. In fact, I’m not even thinking about that until it’s finished. I recently got asked to play a couple shows here in Portland in March and April, so I’m excited about that. I’ll be performing pretty much all new material, so that’s really the only way to get a preview at this point. I’d love to play more shows in more places. Of course I dream about doing a tour, but I wouldn’t even know where to start. My only real use is to make music, so I don’t think it’s smart to hope for more. I make the music I want to make and that’s what’s important.
Mr. Manic's Previous Entries
Rare Nnudes is a digital label, active since August 2013, that I became aware of by way of one of its members, Bastiengoat. Just over a year ago, I went to California to see Velvet Acid Christ on their first tour in 13 years and the night before their San Francisco show, I went to a party on the side of a mountain complete with fire-spinners, projectors, and glittery, fluorescent Cnidaria.
At some point during the night, I heard one of my songs, which was entirely mind blowing and even my matter-of-fact retelling of the story doesn’t convey the spiritual breakthrough caused by this strange coincidence. Bastiengoat was the gentleman playing it, having found it on soundcloud some couple of years before then. We’ve been in touch since and along the way, he became a part of Rare Nnudes, as the lone California-based member of an otherwise Tennesse-based crew.
The label promotes mostly experimental, sample/break-heavy electronic music like IDM, jungle, breakcore, juke and footwork. The latter two subgenres being highly technical bastard children of Afrobeat based dance music. The latest of their weekly compilations, 2015RARENNUDETERNITY was released on February 5th. I contributed a brand new jungle style production in the form of a remix of the song “Hang Tyme” by Michel’le. RedHat, a breakcore producer and co-defendent in my Psy.Fi collective thought crimes, also contributed an original production. I’ll definitely be exploring all of the contributors further and I’m stoked to be one of them. Rare
Soft Metals – Lenses Remixes [Mecanica Records]
Febrary 3, 2014
Mexico City/Los Angeles label Mecanica Records has released Lenses Remixes by Soft Metals, which features contributions from producers all over. Lenses was released last July and is one of my favorite releases of 2013. Three of the remixes appeared on Mecanica Records’ soundcloud including a remix of “Hourglass” by Mexico City producers Maryeba Sound, and remixes of “Tell Me” by Tokyo synth pop duo Jesse Ruins and Sumergido, a producer from Buenos Aires, Argentina. “No Turning Back (WMX Bestial Mouths Remix)” is one of my favorites and a pleasant surprise, given that I’ve run into them a few times over the years. According to the bandcamp release, they are working on a new EP and are planning Mexican and European gigs in March and April. The vinyl ships on March 3rd.
BD Tom – Dub Train (Preview) [Plastic City Records]
BD Tom, a budding house and dub producer from Budapest, Hungary, is about to release a full length album on Plastic City Records, a legendary deep/tech house label based in Mannheim, Germany. The label has been a long time home to Terry Lee Brown, Jr., a pioneering producer and DJ in the genre, as well as a host of well known producers including The Timewriter, Steve Pointdexter, and Marshall Jefferson to name a few. BD Tom’s music is driven by layers of warm pads and filtered strings under infectious chordal riffs. Here we see a remarkable grasp of the style as he exaggerates its most attractive elements, while maintaining diversity among the tracks with varying tempos and rhythmic structures. Be on the look out for full release later this year.
Ben Arsenal – Travel By Map Mix 02
Ben Arsenal is a Philadelphia based house producer, musician, DJ and co-founder of Worldtown, a record label, party and design group. He also operates and helped build Elevate Sound Studios, which has been open for little more than a year and is already churning out impressive tracks. Worldtown favors an international sound and in keeping with this theme, co-founder Oluwafemi creates eye popping designs that revolve around flags of the many nations of our earth laid out in a geometrically uniform configuration. This unique look along with their sound makes their brand instantly recognizable among their peers in Philadelphia. Travel by Map is Ben Arsenal’s mix series that features house and other danceable styles of production from both local and international producers. Stay tuned for info about their upcoming three year anniversary party, to be held on March 14, 2014.
Get Up – Picking Up Where I Left Off (Sneak Peek) [Psy.Fi]
February 8, 2014
Philadelphia was USA’s first capital and is home to a number of enduring figures and symbols, both patriotic and secular that have significantly shaped this nation’s pop culture. One street artist, Get Up, whose name hints at his primary talent, has done a few clever mashups using imagery from today’s fashion, music, and visual arts with classic symbols. His most famous work is the Benjammin’ piece that depicts Benjamin Franklin with a boombox to his head in the vain of 80′s hip hop habits.
With an ever growing body of work, you can find his many designs on shirts, hats, pins, socks, and more, but mainly on the countless surfaces provided by an urban landscape. Along with this, he has also undertaken the massive project of remodeling the interior artwork at the landmark Philadelphia venue, The Electric Factory. Using self-traced/self-cut stencils and spray paint, he has adorned the walls with many of the personalities who have helped build the American music industry including Tammi Terrell, Teddy Pendergrass, Patti LaBelle, DJ Jazzy Jeff & the Fresh Prince, Lisa ‘Left Eye’ Lopes, and Jon Gutwillig of the Disco Biscuits. If that’s not enough, this fellow is also an electronic music producer working mostly in the hip hop, dubstep, and bass beat genres with a knack for catchy remixes and clever sampling.
Picking Up Where I Left Off, to be released some time this month, features some of his latest work, much of which you can hear whenever he plays live. For performances, he employs turntables and Serato for the classic DJ experience. As a part of my Psy.Fi collective, he curates the street art element of our hip-hop themed bi-monthly event STREET ART X HIP HOP X BEATS, the next of which will be held on February 21st at The Black Box at Underground Arts.
SINS's Previous Entries
The human race is disgusting, we are probably all gonna die soon, but don’t worry cause you look good and you’re about to download some free techno. Nothing lasts forever.
Distraksjon is essentially purging himself of 2.5 years of material, to make room, to mentally create space for the new material he has been working on. Nature abhors a vacuum. Each of these songs is unique, like a precious snow flake, that just fell from the heavens and landed on the dirty city streets and then right before it melted it got barfed on by a homeless woman. If you’re too thick to understand the picture I just tried to paint, what I am saying in layman’s terms is that the songs are really dark. Die In Obscurity is the first release by Distraksjon, the one time resident of Detroit, now lives in Toronto and has been slowly but surely creeping up onto the radar of the cities dark electro elite.
My favourite track is ZU. Download it free here:
DREWXMINDZ's Previous Entries
Ever wonder what it would sound like if early Crystal Castles got skull fucked by a harsh Skinny Puppy/Combichrist mutant baby with an acid addiction? Me too. Luckily Kansas City’s HUMAN TRAFFIC took care of that for us. They also took care of a pretty good self description for me, so I’ll save my crappy adjective play and just let you have this:
“HUM/\N TR/\FFIC is a synthetically produced trio based out of kansas city, mo. Existing to thematically deconstruct the perpetual intercourse of the mind. Breeding spectrums of stimulation through sensory overload via audio / visual manipulation. Prescribing distortion between virtual and physical realms. Digital ecstacy and spiritual incarceration. Integrate within the system and become a victim.”
Sick. I was stoked when I came across their jam “Blood Orphan”, but my reasoning for this post is their new crusher “Fresh Widow”. All the elements of industrial, electro whatever and witch house influence is here and it’s sick. Check these guys out on their upcoming tour and become a victim.
Logan Owlbeemoth's Previous Entries
Tachyons+ Transmits is a future memory on the underground realm of visual wizards by Logan Owlbeemoth of the glitch synth designers Tachyons+
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If you are not familiar with the work of AVD78 let us take you aside for a moment and show you some of the finest video art this side of an impossible sliver of unseen magic eye potions. Using a mix of old 80′s-90′s video mixers and modern digital computer editing, AVD78 has been quietly astonishing those lucky enough to have come across his video crafting for obscure music around the world. Based out of London and set in 2010′s reality but landing more via Venus and the year 2099, time to gaze upon his creations and hear about his visual wonders.
T+: When did you begin doing AVD78?
AVD78: I started AVD78 about two years ago. I’d been editing for over ten years but wanted to change my methods of working, so I created a platform with a more experimental approach to music video. It was about trying new things to begin with, then as I saw the results I moved on to honing / finessing / improving the quality of the work. Using new software like Resolume Avenue was an eye opener but it wasn’t until I started experimenting with traditional hardware that the whole thing gathered momentum.
T+: What was the inspiration and motivation?
A: In my twenties I was a procrastinator. But it doesn’t feel like I’ve got forever anymore so I’ve become far more driven. Having children has really helped with that too. I’ve always loved the use of music with visuals whether it’s in films or a good music video. I can’t hear music without getting a visual sense of it. I’ve always found cutting to music very satisfying like solving a puzzle. With hardware the process is even more enjoyable, you don’t sit around waiting for an effect to render, the whole thing is immediate. My work has become more prolific as a result.
T+: Can you tell us about the gear you use?
A: I use a Roland P10 video sampler which triggers clips through multiple home video mixers and processors. I now use dozens of bits and pieces. Every time I add something else it becomes richer and more complex.
T+: What are some of your modern video influences?
A: All sorts of different stuff. The likes of Coldcut and Hexstatic got me interested in the audio visual genre. The remixing of films and music videos is very effective when done well. By the time I saw a live Chris Cunningham performance I could see where it could take you. It’s a totally immersive experience and a far more interesting career progression than going on to make films.
T+: What are your past video influences?
A: I grew up addicted to horror films and by the time I discovered David Lynch I started making my own crappy videos and decided I wanted to be a film maker. Somewhere along the line I became less interested in telling stories and more interested in mangling up old clips. Watching Severed Heads videos was probably the first time I saw how nice analogue effects looked with music, and this was back when I was limited to final cut, it really depressed me that I couldn’t achieve the same results. I had no idea where to start. Luckily years later I saw what a friend James Alec Hardy was doing with old hardware. It looked absolutely amazing so I added similar hardware to my process right away.
T+: Where do you see video art today and in the future?
A: I come across more and more people that have a mutual love for the analogue process. The results I get continue to amaze me and at the moment there doesn’t seem to be any end to the possibilities. I’m not likely to move on anytime soon.
T+: Tell us a bit about what you are doing recently?
A: I recently completed a long-form project Eyes Behind The Stars with my friend Napapiiri. It’s an AV mix using electro tunes and old sci fi/horror movies. It’s our online performance piece. Hopefully we’ll be doing that kind of thing live very soon. I’m continuing to make music videos for people who want them but the process is naturally taking me away from the music video constraints. I’m currently working on a series of weirdo mini videos that probably best represent where I’ve always intended to go with this equipment. They’re short and snappy and hopefully a little more inventive than before. I’ll be putting out a bunch of them soon.
T+: Whats the future of AVD78?
A: Well I feel it’s all building to something. I’ve been learning the whole time, I can tell when I’m on the right track and occasionally off the track. I’m very interested to see where the video work will take me.
T+: Is Videodrome real?
A: For me yes.
Check out more of AVD78 here:
SINS's Previous Entries
Artificial Records is back with another captivating record. This time around it is the debut of a duo called Weeknight. I was pleasantly surprised to find that the song writing on Post Everything is very polished considering it is a “debut” album. Also their video for “Dark Light” is a lot more colourful than I was expecting but it is a welcome change from the bleak theme found in videos by many of their peers. My favourite part of this song is around 2:33 when a heavily distorted vocal comes in and takes the edge off some of the pop airiness of the song.
One of my old buds, Colt 45 malt liquor, makes a guest appearance in the video as well. WARNING: Malt liquor is the best and also the worst. In my experience if you wanna have loco, carnival level, fun times, then drink lots of malt liquor. But I guarantee if you drink enough, eventually you’ll probably think you’re a ninja, jump off a roof and destroy your ankle. Now that you can’t walk you will lose your shitty job as a waiter, a job you hate anyways. Which will lead to drinking more malt liquor cause you’re now broke and listening lots to Blondie’s “Die Young, Stay Pretty” alone in your room, wondering if it’s a good idea to just end it before you hit 25. (Results may vary)
SINS's Previous Entries
There is roughly 8.337 million people living in NYC and at least twice as many bands. If the rats (please click) ever learn how to play synths there will be at least another 8 million bands. How does one keep track of all these frikin’ bands? It’s basically impossible, attempting to do so would probably kill you. That being said, one band that stands out among the mire, like a shining magickal ray of goth sunshine, is LESPHINXX.
True story: I once saw them play to like 8 people in some random person’s apartment that was above what is arguably the smelliest bar in Toronto. I was a little confused about how I got there, but happy none the less, because it was a great show. Since then I have watched them build a nice following in NYC, as well as really strengthening their song writing and solidifying what it means to be LESPHINXX.
If you love bats, then you will love their new video. If you don’t love bats, then F#%K YOU!!!
Download the Athame EP here :
Press Gang's Previous Entries
Miles Brown is a guy that I like to refer to as the wunderkind of the Aussie dark electronic music scene. Best known as the Theremin player in Melbourne horror synth (with just a hint of prog) outfit, The Night Terrors. They supported Goblin in their recent Australian tours and Miles played solo shows in small clubs and art music festivals consistently through 2013.
Although I have heard his solo work as a live performance, it is interesting to hear how these tracks have translated themselves in the recording context. What is immediately apparent in the a-side tack ‘Electrics’ from his release of the same name, is the retro/vintage synth quality that is reminiscent of an 80’s teen coming-of-age-flick, where the protagonist takes a road trip to the beach with his ‘girl’ or equivalent scenario. I can almost visualize the montage, cut to this track, from them stealing away in the middle of the night, through to arriving at their paradise destination in the afternoon of the next day… But I digress.
‘Electrics’ is not a complicated sonic tapestry. It’s simple and retains a fresh youthfulness that is immediately endearing. The musical motifs are replayed and built artfully, the vocal becoming stronger and more confident as the track moves into something sounding grander and more spacious than it’s introduction -like you have just hit the freeway and hightailing fast into freedom.
The B-side ‘Night time’ I consider to be a subtle homage to one of the more popular post-punk calling cards. The Strangeloves, who also wrote ‘I Want Candy’, Bow Wow Wow’s most well known single, originally penned the track. Without this context the track could appear a very ‘pop’ addition to the release, but has a menacing quality the original does not portray.
As the track progresses, it really comes into its own, darker qualities and becomes something really quite special. Miles introduces the Theremin, which was surprisingly absent in the A-side, into the sonic mix which turns up the sinister under current of the repetitive lyrical phrase and leaves a sense of unease; what exactly is the night time the right time for? It’s a subtle grower of a track and a strong finish to the release.
Miles Brown released Electrics on the 22nd of this month through It Records. If neon vinyl tickles your twisted fancies, then get to the pre-order fast, as there are 100 pressings of some vibrantly yellow wax.
Theway Peoplestare's Previous Entries
Ritual naked sacrifice from true original witches is forever timeless. Coco Carbomb teams up with H3X3N and Blam Lord for a new track that blows the house to the ground. S★A★V★A★G★E ✚CITY. These three need to work together for good. This is out of control sexy. I’m now gonna crawl in bed with it and be deep under the covers.