We’re patiently waiting to hear the upcoming highly-anticipated “Ultraísta” album, but that’s not the only project we’ll be hearing Laura Bettinson on. Today she has released a new single under the name “Lau.ra” titled “Sideways,” and it features Secaina on vocals as well. The track is a fun “House” music induced banger that finds Bettinson showing her wonky side. You can listen to “Sideways” below:
Formed in New York, and now based in Los Angeles, duo CMON (Confusing Mix of Nations) have been making a name for themselves with their undeniably infectious music that is both dance floor ready and guitar-driven with shades of the finest elements of Shoegaze and Post-Punk. The band have recently signed to “Mexican Summer,” and are now set to release their debut self-titled album on April 3rd. Following their single “Coo,” which will appear on the upcoming album, the band have shared another new track off the album titled “Zoo.” You can listen to it below:
Nicolas Jaar under his “Against All Logic” moniker is set to release a new album on February 7th titled 2017 – 2019 via “Other People.” This will be a follow-up to his previous album 2012 – 2017. Yes we have to wait a whole week to hear the album, but don’t worry, we don’t have to wait a whole week to hear new “Against All Logic” music. Today Jaar released a new two-song E.P. titled Illusions of Shameless Abundance which features Lydia Lunch, FKA Twigs, and Estado Unido, as well as a 50 minute mix. Illusions of Shameless Abundance is available now on all streaming platforms.
2017 – 2019 Tracklist:
1. Fantasy
2. If Loving You Is Wrong
3. With an Addict
4. If You Can’t Do It Good, Do It Hard (ft. Lydia Lunch)
5. Alarm
6. Deeeeeeefers
7. Faith
8. Penny
9. You (Forever)
Artist: Ready, Steady, Die!
Album: Pleasure Ride
Genre: Electronic/Electronic Rock/Dream Pop
Label: Human Label
Rating: 8/10
We all have our own little pleasure rides. Aren’t we all frequently in search of an ecstasy that will alleviate the inconvenient pains life forces us to endure? More often than not we become addicted to the things that bring us that ecstasy, and i’m not just talking about drugs. Many of us are addicted to sex, caffeine, food, shopping, our phones, social media, pornography, and whatever the Hell else brings us temporary happiness. Now i’m not here to wave my finger, because I too am an ecstasy addict, (not the drug guys, calm down) and the biggest addiction I have is music. God that was corny, but hear me out. Don’t we all like music? I mean, you like music. That’s why you’re reading this right now. Isn’t music the biggest addiction we all have that is completely harmless? Well, unless you listen to your music full-blast through your earbuds. Seriously, take care of your ears guys. When an artist can perfectly hit the nail on the head of the mental and emotional strains we have to deal with on a daily basis, it truly is something special. British-American duo “Ready, Steady, Die!” have crafted an impressive debut album that faces these day-to-day emotions with honest lyrical content and dark but infectious instrumentation. Based between London and New York, the duo consists of members Sam K (composer, vocals) and Morgan Visconti (composer, producer, vocals) who is the son of legendary producer Tony Visconti, and their debut album Pleasure Ride is an immaculately produced album that features shades of the moody grooves of Trip Hop, the walls of distant wailing guitars that inhabit Dream Pop, and the futuristic sounds of Post-Industrial, and I can’t help but picture much of these songs in a David Lynch movie. As familiar as these sounds are, the duo manage to create a style that is very much their own. The instrumentation is otherworldly, but the subject matter is very much of this world. Much of the content deals with self-affliction, self-discovery, and self-acceptance. Ranging from the realization of when someone or something is toxic, and separating yourself is the best remedy, (When Hell Freezes Over) to exposing the hurtful selfishness of others, (Vent) all of these songs are expressed in a hopeful tone that wonderfully contrasts the moody nature of the music, and Sam K’s captivating vocals can range from angelic to sinister, leaving the listener an emotional mess, but a satisfied mess. As inward-looking as much of these songs are, there are standout tracks that look outward such as “The Know,” a song about those who obsessively search for truth. We all know those people, conspiracy theorists, people constantly searching for the truth, truths that are supposedly hidden from us by the government, or maybe and exclusive group of people you know whom you desperately try to discover what they truly think of you, or maybe you’re trying to find the true meaning of life. You can stumble on clues, you can have a peak inside to make sense of all this chaos, but you’ll never be inside the know. “The Know” is as thought-provoking as it is eerie with it’s atmospheric synths, soundscapes, and Hellish guitars, but the song is impressively catchy with it’s groovy bass line and pulsating drum machines topped with Sam K and Morgan Visconti’s perfectly in unison vocals. The title track “Pleasure Ride” is an epic piece that perfectly sums up our addictions to help us forget our mental and emotional strains. “This lack of drive from nine to five is starting to get to me. I take my pill that keeps me ill but makes for a better journey” sings Sam K as she expresses the many things we can all relate to, and that’s that brutal honesty and self-realization in music that much of us need to hear, because much of the music that plagues the airwaves isn’t honest. I mean, I get it, most people use music as a form of escapism, but what good is any form of art if it doesn’t make you think or question yourself or the world? Yes, not all art has to be littered with existentialism and melancholia, but art that features these subjects is usually the most genuine, and “Ready, Steady, Die!” understand that along with the bursts of happiness and optimism we get in life, we have our nightmarish and disturbing moments. There’s no light without the dark, and this band is here to force you to experience that dichotomy. As impressive as this album is, it still feels like a starting-point for the band, which it is, it’s their debut album, but their magnum opus is yet to be achieved, and I have no doubt that they’ll reach that. As ambitious and multi-faceted as this debut is, I feel like they have much more to offer, and given that this is the first of three albums that will be released as a trilogy, the band have room to experiment even further. I’m looking forward to this trilogy.
Written By: Steven Sandoval
It’s been far too long since we’ve heard anything new from “Ultraísta,” a band that were beginning to look like they might be a one-album wonder due to the 8 years of inactivity following their debut in 2012. Though members Laura Bettinson, Nigel Godrich, and Joey Waronker have all been busy with various musical endeavors, whether or not they would return as a band sparked much speculation. Well, we no longer have to wait and hope. Today the band have announced that they will release their new album Sister on March 13th via “Partisan Records.” The band have also shared the album’s first single “Tin King.” The track picks up where the band left off with synth-heavy and danceable grooves, and Laura Bettinson’s soothing and loop-heavy vocals, not unlike their previous album, but refreshing nonetheless. You can watch the music video for “Tin King” below:
As far as i’m concerned, “Chelsey and the Noise” are one of the most innovative acts in Industrial/EBM music today. They adopt traditional Industrial sensibilities all while fearlessly incorporating a darker version of Pop to make us dance and even Metal to make us thrash. Halloween is upon us, so of course we need a new track from the duo, and on their new single appropriately titled “Are You Afraid?” they deliver an enticing combination of EBM, Metal, and even a little Trap, proving once again that they aren’t afraid to drag the genre of Industrial kicking and screaming into the new age. Don’t be afraid to listen to this track. Link below:
https://m.soundcloud.com/chelseyandthenoise/are-you-afraid
On this day in 1999 “Nine Inch Nails” released their masterpiece The Fragile, a double album that was a big departure from it’s predecessor The Downward Spiral. Moving away from the harsher noise-infused tumult of The Downward Spiral, which reflected songwriter Trent Reznor’s descent into madness, The Fragile found Reznor incorporating elements of “Ambient,” “Electro,” eerie soundscapes, and even a little “Hip Hop,” but wasn’t any less self-reflective. The lyrical themes of depression, isolation, and drug addiction continued. If The Downward Spiral was the soundtrack to someone’s descent into depression, addiction, and nihilism, then The Fragile was the ultimate coping method and state of realization. It was the sadness that follows the anger, and it was an incredible end of an era for “Nine Inch Nails.” Happy 20th anniversary.
“HMLTD” are one of the most exciting bands at the moment. The evolution of the band has been incredibly captivating going from their 2017 Post-Punk/Gothic singles to last year’s Synth-Pop heavy E.P. Hate Music Last Time Delete to their dark Electronic-laden Pop singles released late last year, they’ve been on many people’s “must watch” list and they still don’t even have a full length album! Today the band returned after what felt like an eternity with a brand new single “Loaded.” The song is about material wealth and spiritual poverty, and it’s deliciously catchy. You can watch the video for “Loaded” below:
Artist: Thom Yorke
Album: ANIMA
Genre: Electronic/Experimental
Label: XL Recordings
Rating: 8/10
Thom Yorke needs no introduction at this point, and saying he needs no introduction goes without saying, so why am I saying it? I don’t know, I just needed an introduction in this review. We all know how influential his band “Radiohead” is. A band that have garnered much acclaim from critics and music fans alike with their eclectic music that strives to innovate and push boundaries. In fact, they’re so acclaimed that they just recently were inducted into the “Rock & Roll Hall Of Fame,” and if you’re aware of the “Rock & Roll Hall Of Fame,” you know they tend to ignore artists that are truly innovative, but here we are pleasantly surprised. Aside from “Radiohead,” Yorke has embarked on numerous music endeavors, including a decent solo career. Now, I’m not going to lie and say I’ve been the biggest fan of his solo material, (please don’t crucify me) because much of his music tends to be predictable or sound like “Radiohead” b-sides. That isn’t to say his music has been devoid of creativity and meaningful content, but the replay value is hardly there, but upon hearing that he was set to score Luca Guadagnino’s Suspiria remake I was immediately intrigued. My expectations were exceeded with that soundtrack. Yorke beautifully crafted a dark and melancholy contrast to the film’s disturbing visuals. Following that up, Yorke has released his third solo album ANIMA, and this is the Thom Yorke solo album I’ve been waiting for. This album sounds like what I expected it to sound like, but that’s not necessarily a bad thing. This album has everything we’ve come to expect with Yorke’s solo material. The layers upon layers of synths, off-kilter drum patterns, and reverb-drenched vocal loops and harmonies layered to fall in disarray, but this time around this sound is perfected and truly hypnotic. Inspired by the subject of dreams, Yorke and longtime collaborator Nigel Godrich fully immerse the listener in a world of “Ambient Techno” that’s hypnotic and creates humanity out of the machines at work. The album’s opener “Traffic” hits you with buzzing synth bass and skittering synth arpeggios that build to a subtle climax that doesn’t bombard you with self-indulgence. This sets the tone for the rest of the album quite well, because the rest of the album follows a very similar note, and that’s the point, to hypnotize you and put you in a state that feels like a dream, and sometimes even a nightmare. Much of the album’s content deals heavily with claustrophobia and anxiety, and Yorke uses themes of dystopia to evoke feelings of anxiety, but there’s never a feeling of discomfort. A sense of urgency yes, and even a feeling of discombobulation, but it’s controlled and there is a frequent hopeful tone. The track “Dawn Chorus” is most definitely a standout track where Yorke’s almost spoken word vocals lay out a paranoid string of consciousness, but there is a sense of comfort beneath the madness. This isn’t an album that pummels you with abrasion or tumult, and it’s not trying to unsettle you, but with the darker subject matter, instead of delving further into the rabbit hole, Yorke and Godrich find a way to guide you through a meditative experience amidst the anxiety, as if they know most of their listeners find comfort and beauty in the sadder art, and pulling that off is no easy feat. If you find Thom Yorke to be pretentious or self-indulgent then this album isn’t for you, and the mere idea of Yorke using his own dreams as inspiration might make you cringe, but it’s definitely worth a listen. That’s right, i’m talking to you ya Thom Yorke detractors.
Written By: Steven Sandoval
Date: 06/30/19
Artist: Matmos
Album: Plastic Anniversary
Genre: IDM/Experimental/Electronic
Label: Thrill Jockey Records
Rating: 7.5/10
Just about any object can be used as an instrument. Anything that makes a sound can be utilized in a musical composition. ANYTHING. A washing machine, recordings of bovine uteruses, sperm hitting paper, audio of plastic surgeries, you name it, and though these sound like absurd examples, guess what? Someone has sampled all of these things in their music. “Matmos” is their name, a duo and married couple that produce music comprised of field recordings. The duo have been doing this since the late 90’s with a different theme for each album, creating dark and often surprisingly catchy tunes made up of nothing but field recordings. Their unorthodox approach to recording music has garnered acclaim, and considering how this approach to music could easily become a gimmick or novelty, it’s impressive how they’ve kept our attention after all these years. So what’s the next theme for their new album? Plastic. Oh plastic, how would civilization survive without it? Humans love convenience, and though it’s destroying our environment, we just can’t live without it, because the majority of our products are comprised of the plastic, and of course, “Matmos” have utilized a myriad of plastic objects to create their new album Plastic Anniversary. This album isn’t just the two banging on plastic objects creating only a percussive nature in the vain of “Stomp,” the countless plastic objects are sequenced and manipulated to create loops and layers upon layers of sounds that take the roles of rhythm, melody, and atmosphere. Many plastic objects are utilized like the breaking of vinyl on the opening track “Breaking Bread,” the use of pill capsules and the eerie and ominous tones the two get out of them on the track “The Crying Pill,” and the most captivating of all, the primal sounds created using riot shields which are scraped and banged on on the track “Thermoplastic Riot Shield.” Matmos cleverly show us all how anything can be an instrument. Everything from billiard balls to plastic horns, and the two impressively create whole melodic compositions that aren’t just a bunch of noise. That’s their forte. Field recordings have been used far before “Matmos” came along, but no one has ever utilized this recording method quite like them. Their music is incredibly innovative and they always think outside the box, finding new ways to create music using unorthodox instruments. If they can make you dance to a washing machine, then i’d say they’re IDM’s biggest innovators.
Written By: Steven Sandoval
Date: 03/20/19
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