Jay Kantor's Album a Day

Album a Day (Limited Edition EP Edition): Silversun Pickups - The Tripwire Session: Live In Chicago

2010-10-13T12:27:00.000-07:00

Silversun Pickups
Dangerbird Records (2007)

Recorded live in Chicago for rock blog, The Tripwire, Silversun Pickups released this four-track EP somewhat under the radar in a no-frills, black & white, cardboard sleeve and only available in various Independent Record stores. On a general basis I would not consider myself a music collector. I know this sounds counter-intuitive given my library of 1700 CDs and probably at least one hundred more digital albums, but in any kind of collection you have two very different approaches. I'm sure we all have a friend, co-worker, stalker, etc. that collects action figures. Think about that person for a second. Got it? Ok, now I'm guessing that person you are thinking of does not take his/her (let's be honest its a he) toys out of the box. That would "devalue" the toy. I come from the other approach, which is: if you have a toy, it is meant to be played with. Now musicphiles work in a similar way. Collectors of albums will listen to their music, but if you put in front of them a stack of common CDs that they would very much like but are fairly easy to find and a rare one track single then they will almost always pick the latter over the former. The other collector wants to enjoy the music and the rarity does not determine the artistic value (this would be the category I would fall in. However, this EP (which I found used once again at Amoeba for, I believe, seven dollars) makes me begin to understand why perhaps those in the first group and those in the second group can perhaps meet somewhere halfway. What I'm trying to say is that this particular EP is a real gem.

I, much like the rest of America, fell in love last year with Silversun Pickups after hearing "Panic Switch" off of their sophomore album Swoon. I went back and acquired their first album Carnavas (which was an early review I did for this blog). In listening to both of these albums you can hear how well-produced the band is and when a band is well-produced then you do start to wonder how they will fair under live or stripped-down circumstances. Hearing The Tripwire Session: Live In Chicago I can tell you that this a talented band that sometimes I'm actually more crazy about live than in recording (to take absolutely nothing about from the recordings). What I think is so great about the versions here (three of which are taken from Carnavas and the fourth from their debut EP, Pikul) is that there is a very raw quality that gives the songs a bit more of an edge while maintaining a stripped-down quality that pushes the slightly more punk qualities of the band but remaining true to the band's signature sound.

My favorite track on the CD has to be the first one, "Future Foe Scenarios", which really demonstrates what I'm talking about. It's amazing because you still get the well-placed synths but the lack of over-production really pops the guitars and drums. Doug McBride did a yeoman's job taking a live session and giving the recording a lot of space and breathing room that helps create a certain intimacy. What pops the most to me is the vocal work here of Brian Aubert. I love how Aubert pushes himself to the point of really belting out particular moments in the song that is very representative of their live shows. Aubert also just has such a unique voice that its refreshing to hear it actually sounds that way in a more bare bones scenario. The song itself is also just a fantastic song. Silversun Pickups are a very catchy band so its easy to get lost and enchanted in the music and I just hope that the message of the song isn't lost on too many of the listeners. I mean really go back and listen to that song with messages of discontent, revolution, etc.

As well as Aubert's vocal and guitar work is displayed here, so are the talents of all the band members. Chris Guanlao's drumming pushes the energy of the band and this is another live scenario that if you see Guanlao playing (and just even youtube it) you'll see a certain passion that is clearly evident. I mentioned previously Joe Lester's keyboard work but really for a band that is primarily rock driven its great to have an extra layer of something that I think pushes the sound of the band to the next level. And let's not forget the bass Nikki Monninger. Monniger's bass-line on "Well Thought Out Twinkies" is so fucking smooth and really takes center stage on that particular track.

Often with these releases I don't think a lot of thought is given into placement but I'd like to give major props to the arrangement here. The first two songs "Future Foe Scenarios" and "Well Thought Out Twinkies" instantly hook the listener, and just like any good artist the band then reaches towards more of a b-side with "Comeback Kid" that helps move the CD along while keeping steady a certain tempo. It's also nice that not all of the songs are from the same album as that can take away from the specialness of the release and it could feel like just a bonus disc for the album. This is another song that shows off nicely the more aggressive side of the band. I think the smartest move is finishing the EP with the more casual "Dream At Tempo 119" featuring great backing vocals by Monninger.

I'm glad to own this but I think there's a sad quality to the idea that not many people will get to hear these versions, though there's always hope for b-sides/rarities releases down the road for a band that has a bright future and should continue to release more material, and maybe an album that's a little more stripped down like the music found on The Tripwire Session: Live in Chicago.

Favorite Tracks: Future Foe Scenarios and Well Thought Out Twinkies

http://silversunpickups.com/

Album a Day: KMFDM - Naïve

2010-10-13T00:03:00.000-07:00

KMFDM
Wax Trax! (1990)

Often times its difficult with a band that has put out so many consistently good to great albums, like KMFDM has, to pick which out which one is the best. However, I think a valid case can be made for Naïve as perhaps being the most important (in addition to one of the best). The year was 1990 and KMFDM had began to reach a modicum of success in Europe with their first three albums, the first of which, Opium, was a big underground club hit in Hamburg Germany, and the second two, What Do You Know, Deutschland? and Don't Blow Your Top both beginning to reach a more international audience, with the former being distributed in the UK and the latter being distributed by now famous underground Chicago-based record label Wax Trax! The band's four album, UAIOE, would be the first without Raymond Watts, who at this time left the band to form PIG (though of course Watts would return later, leave again, return again, and so on). That album would also be distributed by Wax Trax! and the band made their American debut in support of the album opening for Ministry. UAIOE would go on to be a really bizarre, though solid album, but it wouldn't be until the band returned to Europe from the tour to record their fifth album, Naïve, that the would truly solidify their signature sound, a solid blend of metal-infused Industrial and club-friendly EBM (old-school EBM like Front 242, not the VNV Nation sound that we've become accustomed to).

In addition to the factors leading up to this particular release, there are a number of other things that make this album important. This album would be the first in which KMFDM would sign directly to Wax Trax! and would mark the debut of guitarist Svetlana Ambrosius. Name not ringing a bell? Oh that's because Ambrosius would later go under the much more familiar name of Guenter Schulz. This would also be the last album before the band would ultimately move to America.

What I find so particular interesting is that the lineup at the time consisted of Sascha Konietzko (Excessive Force, MDFMK, KGC, Schwein), En Esch (Slick Idiot, Pigface), Guenter Schulz (Slick Idiot, PIG, Schulz), and Rudolph Naomi (Girls Under Glass, Sweet Sister Pain) who are basically four of the most German men you could ever meet, and yet this album (again, recorded in Europe) to my 2010 ears sounds like the epitome of American Industrial. There a great amount of fun to the album with a hard edge to it (though I think you could make an argument for it being the other way around).

Of course the album starts off on just the right note with the track "Welcome" which is a really quick eighteen second introduction that simply states "Welcome to the world of KMFDM. Happy to introduce you to our new album Naïve". I know this probably doesn't seem like much, but those familiar with KMFDM know that a large facet of KMFDM over the years is how self-referential they are (with many lyrics in various songs and in fact entire songs detailing the exploits of KMFDM), so to start off this way and then straight into the title track is very exciting. "Naïve" is absolutely one of the best songs on the album with simple but straightforward lyrics on top of a really solid but hard club beat, backed by slick guitars and a duet vocals between Konietzko and KMFDM-contributor Christine Siewert.

I love how this album has songs like "Naïve" and "Die Now Live Later" that are infused with what we know now as that early 90's dance sound (think C&C Music Factory but then try to forget I mentioned C&C Music Factory and pretend I said KMFDM and that you knew what I was talking about) juxtaposed with more guitar driven borderline metal songs like "Piggybank". I'd actually say "Piggybank" is also one of the more stylistically interesting songs on the album because the guitars feel hard like metal but slightly more repetitious like funk and you also get one of Konietzko's signature chanting-style vocal renditions that has almost a hip-hop element to it. This blend of Industrial, funk, and hip hop would soon pave the way for bands like Die Warzau and Psykosonik while being right in line for My Life with The Thrill Kill Kult, who would also infuse a lot of dirty disco into their own style.

Of course what would later launch this album into the spotlight would be one of the band's few primarily German songs, "Liebeslied". Part of the success of this song was its sampling and re-purposing of Carl Orff's "O Fortuna" from his 1930's cantata Carmina Burana. If you're not familiar with this particular song then just Google or Youtube it and you'll quickly go "Ohhhh yeah" or at least pretend to so as not to look like an idiot (or sycophant). Apparently Orff's estate has never been particularly happy with the sampling of this song and (which may I point out is a medieval poem that Orff set to music) and halted production of the entire album because of its use of the recording. To me this is ridiculous in the realm of the fact that "Happy Birthday" is owned and to sing it on radio or television requires paying a gross amount of money. I'm not saying that people don't deserve to be paid for their work, however I am saying that when that person has been dead for quite some time then its time to let it go. My attitude is "if you didn't personally create it then fuck you!", but that's just me. Of course KMFDM wouldn't be the only band to suffer this fate, but rather in an exclusive club alongside Apotheosis (though to be fair their 1991 rendition was basically just a rip-off or Orff's version and probably the reason Orff's estate made an issue of this at all), and Apoptygma Berzerk's "Love Never Dies - Part 1" from their 1996 album 7 (you would think they would have learned from history what happens when you sample this song, but no). It wasn't until 1993 that the fuss was made and the album was pulled off the shelf, but it would result in this version of Naïve gaining rare status with the album at times being sold in the hundreds of dollars (though I constantly see it for 30 bucks at Amoeba Records twenty minutes away from my Glendale, California home in Hollywood. Also I paid fifteen bucks for my copy so suck on that).

Rare and important status aside, this is just a great fucking album that includes some of the great aforementioned songs in addition to a really slick "Achtung!" whose slight repetitious guitar ringing gives the song a Western kind of flavor that makes you want to fire pistols at high noon despite the crazy En Esch German vocals. One of my favorites and stalwart of the album would be "Go To Hell". I love "Go To Hell"s sound because it mixes in elements of punk and rockabilly that works so well with the styles of everyone involved making it a song that really shows off the skills of everyone in that incarnation of KMFDM. I also think what is smart about this album is the smattering of non-traditional album tracks like the remix of "Friede" thrown right into the middle of the album and the three additional tracks at the end with "Virus (Dub)", "Disgust (Live)" and of course one of KMFDM's seminal songs "Godlike (Chicago Trax Version)".

The album would later get edited, rearranged, and repackaged as Naïve/Hell To Go (minus any semblance of "O Fortuna") and then later re-released in 2006 by Metropolis/KMFDM Records (again, still minus "O Fortuna" but back to simply being Naïve but with most of the tracks from Naïve/Hell To Go) but if you can find a copy then I highly recommend it not only for the fan appreciation or collector aspect but also just to simply hear the artists' original intentions from one of the most pivotal albums from one of the most provocative bands of the last thirty years. Also this album has that great signature cover artwork by Aidan Hughes (aka Brute!). This is probably one of my favorite KMFDM covers (of which he's done the vast majority of including both albums and the plethora of singles) for its composition, color, and just that absolute creeper. That dude on the cover is a scumbag and his smile is perfect, only being enhanced by the overpowering sun in the background (daytime creepy!).

Favorite Tracks: Naïve, Die Now Live Later, Friede (Remix), Liebesleid, Go To Hell, and Godlike (Chicago Trax Version)

http://kmfdm.net/

Album a Day: Laibach - Jesus Christ Superstars

2010-10-10T14:01:00.000-07:00

Laibach
Mute
(1996)

Given that legendary industrial group Laibach's first album, 1985's self-titled Laibach, featured a damn dying on a cross (or a plus sign given the proportionate horizontal and vertical components) it seems like it was only a matter of time before the band would produce an entirely religiously themed (primarily Christian) album. Though it would take eleven more years to get there, 1996 gave way to Jesus Christ Superstars. This particular album would go down as one of the more raw, guitar-driven albums in the band's discography, more reminiscent of Oomph! than their previous work, which, while always heavy, for a long time tended to lean more on the electronic side.

There was a bit of irony there given that the first track on the album is a cover of Juno Reactor's "God is God". Though with Laibach nothing is accidental, and what would be even odder than the slight change in musical direction is that first song. Laibach had been and continues to be long-known for their various covers, often re-purposing songs for their own agenda, and this CD contains three covers (again, not unusual for the band) with the Juno Reactor song, "Jesus Christ Superstar" from Andrew Lloyd Webber and Tim Rice's rock opera of the same name, and a cover of Prince's "The Cross" from his first solo album Sign O' The Times. What would be so strange about the inclusion of "God is God" is that the song hadn't been released by Juno Reactor yet and wouldn't see a release until the single released a year later in 1997 and on the full-length Bible of Dreams (also released in 1997). However, if you check the liner notes of the Jesus Christ Superstars (again, a great reason for having physical over digital) you'll see the musical writing credit given to Ben Watkins and Nick Burton of Juno Reactor and on the last page of the booklet there is a note that says, "The original version of "God is God" is taken from the forthcoming Juno Reactor album and single on Blue Room Released." I personally just find that pretty amazing and I'm surprised that I think that that particular tidbit has been somewhat forgotten by time and I've even seen credit given first to Laibach in various places.

The song "God is God" itself is a fantastic cover that takes a primarily electronic/tribal piece and makes it into a typically-Laibach epic. What works so well for this and many of the songs on the album is a mix of the sweepingly dramatic performances of Laibach and booming/commanding vocals. Its a really great contrast to the original even though both resonate for different reasons. I'd even go so far so say the Juno Reactor version has a sort of removed, passive quality that allows the listener to float around in the ether and transcend to another state of reality or plane of existence. Laibach's version is much more engaging, fear-mongering, and earthly.

The second cover on the album is perhaps just as fantastic, a re-imagining of Andrew Lloyd Webber and Tim Rice's "Jesus Christ Superstar". Of course this song is sort of a centerpiece for the album, with only the addition of an "s" standing between the name of the song and the name of the album. Laibach has a great piece written up on their website about the album and in referencing their choice to cover this song they mention how the original (a mirroring of John's Lennon's quote about The Beatles being bigger than Jesus) "...cast a clean-cut Jim Morrison type as Christ and played out his story against the peace concerns the Vietnam war period. That its social impact outweighed its musical value could be ascribed to its meeting the religious needs of an audience unsatisfied by conventional religions. Laibach use it today as a vehicle to explore the way rock had absorbed Hollywood's idea of Christian values."

I won't detail every song but the rest of the album and every one of the original tracks are equally as good as the covers. Even for an industrial album there's still plenty of diversity on this album with more traditionally Laibach songs like "Kingdom of God" and "Abuse and Confession" which, like many of the songs on the album, features these really solid orchestral parts that only enhances their already epic nature, to heavier songs like "Declaration of Freedom" and "Message From The Black Star" that are much more in the style of Neue Deutsche Härte (new German hardness) that was typical at the time of bands like Oomph!, Hanzel und Gretyl (though an American band), Umbra et Imago, and the emerging Rammstein.

Personally one of my favorite tracks on the CD is a much more minimalist song towards the end of the album named "To The Night Light" which feels much more in-line with early Laibach. I think this song (certainly amongst others in their discography) shows a more artistically-driven side of Laibach where they are truly one of the more masterful bands in Industrial at controlling atmosphere and mood, driving it towards a very dark place.

The roots of Industrial music generally centered around the challenging of ideas, musical forms, convention, etc. By 1996 there had been a boom in Industrial and while some bands such as KMFDM, Pigface, and the disintegrating Skinny Puppy were still behind that there were a number of bands emerging that simply just wanted to make angry pop music. I'm not saying there's anything wrong with that, however, I just thinks its refreshing that Laibach was and continues to be a band that subverts, questions, and thinks during its process, even though they could rest on their laurels of simply being a fantastic, aggressive band. Here Laibach takes on the major theme of religion. The Goth/Industrial scene is not one that is typically associated with deep religious belief so the emergence of such an album is not necessarily controversial, nor do I think it intends to be. The band has stated that with this album they hoped to raise more questions than give answers. Though of course doing an album like this, one does have to wonder Laibach's stance on religion. Is this a question of all religion, Christianity, organized-religion, D. none of the above? The aforementioned article has a quote from the band that I think perhaps sums up the whole thing, "Yes, we believe in God, but unlike Americans we do not trust him."

Favorite Tracks: God is God, Jesus Christ Superstar, Kingdom of God, Abuse and Confession, Message From The Black Star, and To The New Light

http://www.laibach.nsk.si/

Album a Day: And One - Nordhausen

2010-10-09T13:48:00.000-07:00

And One
Virgin Records
(1997)

Germany's And One has long been one of the oddest bands. Don't get me wrong, they are also one of my favorite bands but there's always been something a bit off-kilter about this band and I think its that they have the ability to range from quirky (bordering on crazy) to dramatic, and that quirky side can get down right odd (see their most recent video of a lounge version of "Military Fashion Show"). In a sense And One is like a great comedic actor that crosses over to drama and excels at both, and is almost always entertaining. And One's junior effort Nordhausen is a perfect display of the band's dynamic abilities.

I don't want to dwell too much on the odd side of And One because I don't think its the only thing that defines the band but you can help but notice songs on this album like "Sweety Sweety" which is essentially a proposal for an undefined lady to marry the first person subject of the song, bare children, and basically have the whole white picket fence scenario. The song is actually very sweet, and leans much more on And One's synthpop side, but remains sort of a curiously odd song. The other song on the album I would say is in the same vein is And One's cover of Swedish musician Harpo's 1970's song "Movie Star". I love the cheesy sound effects and bubbly synthpop aided by And One collaborator Anja Krenz's guest vocals.

I guess at this point I've turned an about-face because I think odd is the wrong choice of words. Realistically And One is just charming and its songs like these that make for very light (but nonetheless heartfelt) moments that contrast really nicely with the more somber moments on the album like "Sometimes". "Sometimes" is one of those songs that I think helps endear And One to the Goth/Industrial crowd because there's a great fun-EBM club sound to this song but you also have the more downer lyrics about wanting to be alone but not really knowing what you want at all. I know this can come off as a real debby-downer but its honest and its how so many feel whether they want to admit it or not. This more somber side comes out perhaps even more intensely in the last two tracks on the album "Mirror In Your Heart" and the title track "Nordhausen", which remove a little bit of that club friendliness (although "Mirror In Your Heart" still has great synth work reminiscent of Ultra-era Depeche Mode (interestingly both that album and this one were both released in 1997).

One of my favorite aspects about And One has always been that while you get most of their songs sung in English that there always sprinklings of those German songs that compliment the band well and evoke thoughts of Kraftwerk, the Autobahn, and The Bauhaus (the school, not the band). On this album we get songs like "Uns Gehts Gut" which is just a really cool minimalist song that shows a different side of And One. Certainly And One is a band that isn't afraid to experiment and the album actually starts off with "Und Dafür", which has that signature And One sound but is missing the band's trademark vocal work by Steve Naghavi. Now I love Naghavi's vocals but I actually find it refreshing to have a song that can stand on its own for the rest of the composition.

Nordhausen does not have any of the signature songs that you associate with And One ("Panzermensch", "Goodbye Germany", "Techno Man", "Military Fashion Show", "Wasted", etc.) and its possible that it passed you by the first time so I highly recommend adding it to your collection as it is really one of their most top to bottom solid albums with really no bad tracks in the entire thing and a few songs that really should be in your top ten list of And One classics. The album is well-produced Steve Naghavi and band-mate/drummer/back-up vocalist Joke Jay (now an ex-member of the band but a long-time creative force in And One), solid keyboards by Rich Schah with great guest work by the aforementioned vocalist Anja Krenz and pianist Piano Reeves.

Favorite Tracks: Und Dafür, Sometimes, Movie Star, Sweety Sweety, Sitata Tiralala, and Mirror In Your Heart

http://www.andone.de/

Album a Day (Film Score Edition): Hans Zimmer - Inception

2010-10-05T00:03:00.000-07:00

Hans Zimmer
Reprise
(2010)

Regardless of how you may or may not feel about Christopher Nolan's Inception, there is absolutely no denying the brilliance of Hans Zimmer's score. Now, I personally loved Inception as I happen to think that if this is the (at least immediate) future of big-budget action films then we are on the right track, but to me a great score not only helps enhance the film but can also function as its own separate entity, as if the two were companion pieces (though I can't imagine watching this film without the score). This is the type of film that has very large grand ideas and then very small intimate moments. I mean consider the fact that the vast majority of the film takes place inside of the human mind. There is an incredible depth to the brain, and especially dreams that we have only begun to understand but have been constantly fascinated with since as far back as possible. Dreams are our safe havens and yet they can be dangerous at the same time. Its where we have adventures, love affairs, self-loathing, self-aggrandizing, etc. In other words, this soundtrack isn't just for a film that has to deal with all of that but also a soundtrack that must have its own psychology to it.

One of the great things about the CD copy of the album is a story in the liner notes where Director Christopher Nolan details the process of working with Zimmer on a film that he described as being so intrinsically interwoven with its score. Of course Zimmer has worked on over 100 soundtracks and if you run down the list its a veritable "who's who" of major American Motion Pictures. Few reach that upper tier of film composers and so obviously takes a certain something. This especially holds true when you are working with a master of scale like Christopher Nolan, though this is not the first collaboration between the two with Zimmer being the creative force behind Nolan's acclaimed Batman series (Batman Begins and The Dark Knight). The end result is that Zimmer (who has every right at this point to basically phone it in) continues to challenge himself, do research, and perfect his musical cues.

Of course the most noticeable cue on soundtrack is the very industrial mechanical droning horn. This almost always serves as a reminder that something wrong is happening in the dream world, whether it be the Projections becoming aware of intruders or the world itself collapsing. But beyond that there are also great small moments. Although this is a very electronic soundtrack its difficult to put all of the music into one genre. To me this has to be another call back to the film and its own concept of playing with genre. When I first walked out of Inception I said, "This is Ocean's Eleven meets The Matrix", which I still stand by, however as time has gone on I can see that beyond heist film and sci-fi there are also strong elements of classic action, espionage, and film noir that are often represented by different characters and each of those characters stronger moments are easily displayed all over Zimmer's soundtrack. I think the most significant one has to be Leonardo DiCaprio's character Dominic Cobb who displays all the traits of a classic noir character reminiscent of Fred MacMurray's Walter Neff in Double Indemnity and so many of Cobb's scene involving his lost lady love, Mallorie (played so perfectly by Marion Cotillard), you get very heavily noir music, like in her first appearance with the track "Dream Is Collapsing". A good counter example of that would be somebody like Tom Hardy's character Eames (the Forger) who is much more of an espionage guy and we get music like "Dream With a Dream".

What continues to impress me about Zimmer is how open he is to the collaborative process, which I'm sure working with a collaborative director like Nolan only encourages, and one of the really happy results of that is that on this soundtrack Zimmer brought in musician Johnny Marr (The Smiths, Modest Mouse, The Cribs) to play guitar. Typically film composers of Zimmer's caliber tend to use more classically trained musicians and so even though Marr was already an accomplished musician, I still find it refreshing for Zimmer to have the taste-level to bring in someone like Marr that in addition to being an excellent musician, also isn't going to be afraid to speak his mind which again lends to the collaborative process.

In addition to the regular soundtrack available in stores you can download two free tracks ("Projections" and "Don't Think About Elephants") from the film's website and on itunes you can purchase a Junkie XL remix of a song titled "Inception" that obviously takes from various parts of the score (and is probably an indication that there will be more remixes in the future as was the case with the Dark Knight Soundtrack). I think the Junkie XL remix is a really solid track that probably isn't as good as Zimmer's score but adds for a cool twist that has club appeal to it and I think the crossover, much like enlisting Johnny Marr, can only pull in more of an audience for one of my favorite soundtracks of the year (and perhaps period).

Favorite Tracks: Half Remembered Dream, Dream Is Collapsing, 528491, Mombasa, Paradox, Time, Don't Think About Elephants, and Inception (Junkie XL Remix)

Album a Day: Lycia - Empty Space

2010-09-22T19:30:00.000-07:00

I won't watch horror films during the day. Its not that you can't enjoy horror during the day (at least not on a sunny California day like I've been used to for the past several years) but come on, the light is shining, people are stirring about, worse comes to worse I can just leave my house and all will somehow be less creepy. The night is the perfect time for high-contrast lighting, things that look like other things, and more things popping out of nowhere. I don't often feel this way about music because I just don't find most music creepy, even music that somehow sets out to be as such (though it seems like there isn't as much of that as there used to be). However, if you want creepy, nighttime-enhanced music then look no further than Arizona's veteran-Darkwavers Lycia (probably a creepier place to live than you may realize), and also when rifling through the discography make sure to make a stop at 2003's Empty Space.

For certain moods I have specific albums I like to listen to because when you're feeling a certain way you just don't have the time to start sampling things and this album fulfills that dark need in me. This isn't even to say brooding (for that I have other albums) but rather much like how I described that creepy nighttime feeling. To me this album brings about feelings that zombies are going to start coming out of the woodwork or the infected will begin running at me ala 28 Days Later. I always think the last track of this album, "The End" (how fitting) is reminiscent of the song playing in the film when Jim is enacting his plan against the military guys (or I'm not sure if it'd be the other way around as this album was released in 2003 but recorded in 1999 and the film came out in 2002 but I'm not sure when that song was recorded, so let's just leave that tidbit ambiguous).

What I think appreciate the most about this album, and perhaps Lycia in general is that their process seems closer to the way fine artists would work in that you get the appropriate tools for the particular song. At times you may get guitarist/found Mike VanPortfleet's vocals that are really subtle and intimate while others are more appropriate for the distinctly haunting Tara Vanflower (be sure to check out her solo work by the way) and some songs don't need any vocals at all. More traditional bands work much more similar to narrative filmmaking, which is to say that if you have a vocalist then you use it (though it certainly is common to have songs that only feature the vocalist and maybe a synth or guitars...poor bassists and drummers of the world). I think this way of working allows Lycia to maximize potential for songs because nothing feels forced and everything is unexpected. Though I do miss the vocals when they aren't present as Vanflower's voice really brings the work to another level and very much in the same vein as Siouxsie Sioux. VanPortfleet's vocals are a little more sporadic but they add a great texture to the album, particularly on the aforementioned "The End".

Part of what really solidifies the whole package to me are the little moments such VanPortfleet's vocals on "Not Here, Not Anywhere" or the popping effect (perhaps a woodblock or castanets, unless I'm way off) on "Violent Violet", or just that constant guitar riff throughout the album that sounds just off enough to put the listener in a state of unease (in a positive way). Each member of the band has great moments on the album with an attention to detail. In that sense its like you have four separate artists all working together like an well-oiled machine from the aforementioned work by VanPortfleet and Vanflower to John Fair's off-kilter percussion work, David Galas' post-punk bass.

Lycia has done a great job of continuing to transform over the years while maintaining a signature sound that has helped sustain fanbase (including Trent Reznor) while growing as artists and as a collective. This was the last album until the band recently released on online exclusive EP so I hope this is a sign that their work will continue until those that make the music feel its time to hang it up, and in that case they all have great side/solo-projects that are worth checking out. But to me this may stay for a long time as my favorite Lycia album.

Favorite Tracks: Not Here Not Anywhere, Persephone, Violent Violet, The Long Drive, and The End

Album a Day (EP Edition): Leæther Strip - Suicide Bombers

2010-09-19T13:31:00.000-07:00

I'm glad we're all in agreement that George W. Bush was one of our worst Presidents in history (though let's not forget how much of an asshole James Buchanan was). However, to every yin there is a yang (or is it the opposite here?) and there was a silver lining to eight years of political misery: eight years of really angry Industrial laden with Bush vocal samples that you would think must have come from a Charlton Heston movie or something. Some of the music became redundant but a vast majority of it just had so much material to work from including Bush, Bush's cabinet, war, Bin Laden, Sadam Hussein, Al-Qaeda, terrorism, etc. And the great thing was that you could pick and choose so that way you can mock terrorism while also mocking Bush at the same time, and this was one of the clear factors that helped bring one of the greatest Industrial minds out of his funk.

The year was 2005 and we hadn't seen any new material from Claus Larsen (A.K.A. Leæther Strip) since 2000's Carry Me, but realistically there hadn't been any significant release of music from the Leæther Strip project since the release of his 8th album, 1997's Self-Inflicted. Now for some bands time off isn't all that unusual, but Larsen started Leæther Strip in 1988, released his first single in 1989 (Japanese Bodies), first album in 1990 (The Pleasure of Penetration) with a second album that year (Science For The Satanic Citizen) and subsequently released an album every year (and a number of EPs and singles) until his hiatus. Ignoring the one single from 2000 and some compilations of earlier work, Larsen basically took off for eight years in contrast to the previous eights years of consistent material.

So a lot of buzz surrounded Larsen in 2005 upon rumblings of new material. An album would come but first was this EP, Suicide Bombers: Who Told You To Die That Way? Situations like that can tend to build a lot of hype and the last time we had heard new Leæther Strip Larsen had been changing around the sound in such a way that created mixed reactions amongst his fan base. However, this EP absolutely delivered if nothing else but for the title track. "Suicide Bombers" became an instant club hit but its also just such a great perspective on the war in Iraq (is that over yet?). In the song you have a great clip of W. repeating the phrase "suicide bombers" and Larsen simultaneously dissecting why these "martyrs" do what they do and chastising them for it. Larsen has a long history of speaking his mind and deconstructing villainous acts, but what I particularly love here is that Larsen is older, perhaps wiser, more introspective, clearly had a lot of time to think about all of this, and while he still rips the suicide bombers apart there are also questions of how they got where they are, why do they do what they do, etc. while I think taking Bush to task and almost pleading with these men and women not to do what they do while showing empathy (though some of it is very condescending and in the end Larsen does wish harm on those that would perpetrate such acts).

Musically the title track is also just a solid track that's very danceable, very catchy, with a great mix Larsen's normal trademark vocal style and perhaps something slightly more aggressive. In addition the EP contains an alternate "12 Inch Version" (remember when every band on Wax Trax! had a 12 inch version of a song?) that isn't all that different but certainly interesting as you get a longer Bush sample where W. states that "suicide bombers are targeting innocent men, women, and children" plus a slightly different, perhaps more consistent club-style beat. This alternate version isn't really better or worse than the original version but just different, which is kind of cool in itself.

Whats interesting about this EP is that it basically is a mini-album because the whole thing is just under 40 minutes (many albums are as short at 48 minutes) and with the exception of the 12 inch version of the title track, all the rest of the songs are originals. One of my favorites besides the title track is "The Shame of a Nation (Part I & II)". Certain elements are very indicative of its place in the mid-2000's but the overall sound is very reminiscent of more classic Industrial/EBM. There's a very steady pace that probably isn't as much of an automatic dance-floor hit now but you would definitely see an old-school crowd being very into this. I also love the line in this song with the supposed female computer vocalist stating "Leæther Strip is back" during Part II of the song (with two minutes left in the song the same voice informs the audience "And now EBM people I would like to welcome you to 'The Shame of a Nation Part II'. Please enter with caution or stay the fuck out".

The rest of the songs on the EP are all good, though I think "This Is Where I Wanna Be" is probably the best of the bunch as it feels like the first three tracks have an "I'm back" feel, while this song is sort of the "Now let's resume where we left off". Larsen has a great ability to retain that old school sound while adding transformative elements that given the feeling of something progressive rather than nostalgic. I'm sure some of this must have been credited to Larsen's extended hiatus, which seems to have reinvigorated the artist and allowed Larsen to introduce Leæther Strip to an entire new audience.

Favorite Tracks: Suicide Bombers, Suicide Bombers (12 Inch Version), The Shame of a Nation (Part I & II), and This Is Where I Wanna Be

Album a Day: Five Finger Death Punch - The Way of The Fist

2010-09-17T12:49:00.000-07:00

Five Finger Death Punch is certainly in contention for one of the best Heavy Metal acts going today and they only released this debut album, The Way of The Fist, in 2007. The band first formed in 2005 when the Hungarian-born former-U.P.O. guitarist Zoltan Bathory (tell me that's not an epic name!) enlisted the services of drummer Jesse Spencer (W.A.S.P.), bassist Matt Snell (Deadsett, Anubis Rising), guitarist Caleb Bingham (who would ultimately leave the band before the finish of the first album, being replaced by former W.A.S.P. guitarist Darrell Roberts), with the last edition being vocalist Ivan Moody (Motograter), who Bathory courted via Myspace (I know that idea seems ridiculous now...I mean who even uses myspace anymore?).

Part of what I love so much about this album is that you have a Los Angeles-based metal band that clearly brings that American Heavy Metal style as the base, but then I'm sure Bathory's Hungarian background has to factor in somehow even if its not such a direct influence. On top of that the band interest in Asian culture is evident with the band's name, the title of this album, and several song titles (like "Death Before Dishonor") being obvious references to classic Kung-Fu films. Perhaps the fascination stops at the surface level of titles but I don't think the influence is quite that ephemeral but rather something that becomes integrated into the band's style.

Five Finger Death Punches' sound represents a much more "pop"-oriented direction that metal has been going in with typically more metalcore bands like Killswitch Engage and Shadows Fall so its interesting in the last three or four years to see that permeate into different style of metal (especially something so classic like heavy metal). When I say "pop" I simply mean that there is something more accessible about the sound that's put forward for someone that may just be easing into metal. I don't think metal will ever really go in a full-on pop direction because at the end of the day you're still listening to an album with fucking heavy guitars and a considerable amount of screaming (no matter how much melodic singing that's coupled with). But Five Finger Death Punch push those boundaries and that puts them in the position to reach a fairly wide audience with songs that I found myself singing along to the first time I put on the disc.

There's a ton of passion on The Way of The Fist and while some of the lyrics are much more straight forward they convey feelings that are very universal about betrayal, self-loathing, feelings of inadequacy, etc. Of course most of the songs seem to be about particular relationships that went wrong but rather than just being typical "I love her" or "fuck her" its a lot more self-reflection that we all go through and there's something very cathartic about that and Moody's vocals are really perfect for conveying all of those genuine feelings. I think the best song that displays whats great about Five Finger Death Punch is "Death Before Dishonor". There's something very self-empowering about this song with a strong positive push behind it.

The album is also so well produced. Metal albums can be difficult to produce because you don't want an inevitable wall of sound coming at the listener that can often happen in these cases but instead here you get something that is coming from all directions. The credit here goes to the recording skills of Stevo "Shotgun" Bruno (Mötley Crüe, Prong) and Mike Sarkisyan (Spineshank) with mixing duties handled by former Machine Head and Soulfly guitarist Logan Mader. I also love the cover artwork by Sxv'Leithan Essex.

Overall this is a fantastic debut for this band that has several great singles, really killer bonus tracks on the re-release of the CD including a fantastic acoustic version of "The Bleeding" that shows off the musical talents and diversity of this band. Five Finger Death Punch has shown a great amount of potential with this debut album and the 2009 follow-up War Is The Answer (another album that is sure to be discussed here soon enough) which is why its so exciting to hear what they will have in store when they go back into the studio later this year to record their Junior album.

Favorite Tracks: Ashes, The Way of The Fist, The Bleeding, The Devil's Own, Death Before Dishonor, Never Enough, and The Bleeding (Acoustic)

Album a Day (Compilation Edition): Various Artists - Femmes de Paris Vol. 1

2010-09-16T00:37:00.000-07:00

I think the "pop" genre has often gotten a bad rap in more independent-based music scenes because of its connotations of commercial appeal over artistic intent or perhaps because it often just makes a shitload of money. I can empathize with this to a certain extent and then I remember that I like pop because its fun. Also if you give any pop music long enough then it will take on some sort of new value. In a sense this like finding a really expensive red leather jacket at the goodwill for 20 bucks (which I have done on two separate occasions at two different thrift stores in two different states). This is how I feel about 60's french pop so that's why I was stoked when I found this 2002 retrospective compilation, Femmes de Paris, Vol. 1. Though perhaps the pop aspect of French Pop is a bit of a misnomer as so much of the genre is heavily influenced by American Rock of the 50's and 60's. You can see a strong parallel between the French Pop movement and cinematic French New Wave with the influence of American pop-culture exploding in France post-World War II and the youth/artistic movements of the 60's being on the receiving end of that.

Part of the focus on this style of music is the celebration of the french language with music targeted at french-speaking countries that dominate more than just France including other parts of Europe like Belgium or as far as North America with more than just the Quebecois, extending to all parts of Canada. And lest we forget that so many African nations were colonized by the French. In many interviews I've conducted with bands from non-English speaking countries a vast majority of them want to sing in English because it appeals to such a wide market. Now we've established there are a lot of French speakers, but inherently its a far more niche market so that means there is a Pop movement, which again would traditionally spell commercialization to the fullest extent, and yet here's the artistic integrity. You can call it patriotism, nationalism, traditionalism, and maybe I'm over-thinking but to me its a love for a beautiful language. As a filmmaker that shoots mostly 16mm I inevitably wind up having many discussions about film versus video. I generally see the points made by people on the video side but I truly love film. I'm sure these musicians, their bands, and their producers had many discussions French vocals versus English ones and they came to the conclusion that at least for one song they would sing in their native language (most of these women spent their entire musical career singing in French).

One of the brilliant traditions that comes out of this whole thing is the importance of the cover song. These women sang all sorts of rock 'n roll covers and those are some of my favorites on this disc including Marie Laforêt's "Marie douceur, Marie colère" which is a cover of The Rolling Stones' "Paint It Black". There's a great minimal quality to the recording of this song that puts a great emphasis on Laforêt's ability to belt out the vocals for this song just as well as Mick Jagger. This is probably the best cover on the compilation but there are also great covers of the Lee Hazelwood-penned "These Boots Are Made For Walkin'", "Sloop John B" (a traditional West Indies folk song popularized by The Beach Boys), the Motown hit "Baby Love" (which became The Supremes most successful hit), The Moody Blues' "Nights In White Satin", and one of the bonus tracks is a Beach Boys original in the form of "You're So Good To Me".

What I love about the covers and in fact all the songs on the album is that they are all really short with the longest song clocking in at four minutes and nineteen seconds and that is Patricia's cover of "Nights In White Satin" which in its original recording comes in at seven minutes and thirty-eight seconds, so for this to be the longest song certainly says something, especially since most of the rest of the songs on this disc are really under three minutes. The reason I like this is because there's almost a snack quality to the songs. These are perfect songs for sprinkling into mixes of other things or as one grouping you're able to get nineteen songs for a fifty minute album.

The covers aren't the only great songs on this comp as some of my favorite are original tracks sometimes penned by other writers, sometimes written by the singers or at least with contributions. Of course its difficult for me to know what's going on in these songs because I don't speak French but in that sense the music has more of a visceral quality in which I have to just listen to the way the voices moves. Of course there are some songs that its easy to get hooked on for at least a suggestion of the lyrics, like Christine Pilzer's "Dracula", which is easily my favorite song on the entire compilation and reminds me of a lot of the great (or at last campy) European vampire films of the 60's and 70's. Jocelyn's "Nitty Gritty" also seems pretty straight-forward.

Speaking of Jocelyn, what winds up being really interesting is that a lot of the singers of this era are just these one name performers like Jocelyn, Patricia, Stone, Elizabeth, etc. This might not seem odd now that we have Madonna and Prince, but keep in mind that this was at least ten years before Prince and twenty before Madonna. I suppose that you could point out the misogynistic quality of the French in creating commodities of these women, but I think in retrospect they wind up having mythical God-like qualities like Hercules or Athena. Of course not all of the women are just one name and in fact many of them made their names as actresses as well as singers with the most well-known on here being Brigitte Bardot, who most would probably know from either Roger Vadim's And God Created Woman or Jean-Luc Godard's seminal Contempt. This compilation not only provides fantastic songs but also serves as somewhat of a reference towards popular culture in France during this time period, giving it historical context and significance.

A lot of these songs also just have amazing bands backing them and you get great horns like the trumpet on Tiny Yong's "Tu es le roi des menteurs", amazing percussion, and clearly the Bob Dylan love is shown with the harmonica on Violaine's "J'ai des Problèmes Décidement". One of the greatest songs purely for the instrumental elements is probably Liz Brady's anthematic "Partie de Dames".

However, at the end of the day this grouping of songs is really just a fantastic compilation of music that has pop-appeal, rock-appeal, and of course appeal to my nerdier history-loving side (and I love The French even if others wanna be haters). I highly recommend checking out either this compilation or a similar one for any of the above reasons but most of all because these songs are fun and as the beautiful digipak packaging tells us, its also in "Super Stereo".

Favorite Tracks: Marie Laforêt - Marie douceur, Marie colère (Paint It Black), Eileen - Ces Bottes Sont Faites Pour Marcher (These Boots Are Made For Walkin'), Violaine - J'ai des Problèmes Décidement, Liz Brady - Partie de Dames, Stone - Fille ou Garçon (Sloop John B), Christine Pilzer - Dracula, Adele - J'ai Peur Parfois, Patricia - Mes Rêves de Satin, and Brigitte Bardot - La Fille de Paille

Album a Day: Lower Dens - Twin-Hand Movement

2010-09-14T11:33:00.000-07:00

Lower Dens
Gnomonsong Recordings
(2010)

Time is of course fleeting, thus it should come as no surprise that music, one of two prime temporal arts (the other being cinema), is the representation of fleet. So sometimes what time needs is a moment to exist in the now while having the ability to reflect on the past and always looking to the future. This is a feeling I experienced while listening to Twin-Hand Movement, the debut album from Jana Hunter's new band Lower Dens. The first word that came to mind while listening to this album was delightful and yet I feel like to say delightful underscores the casual intensity of the songs put forth.

Each track have great movement that flows well with the previous one while existing on its own. There are more broad moments such as the opening track "Blue & Silver" or "Completely Golden" that contrast nicely with more intimate songs like the soulful "Truss Me". "Truss Me" is actually one of my favorite tracks on the album as it really displays what Jana Hunter is so good at and that's creating something that has heart but is also incredibly haunting so as to stick with you and in that sense those fleeting feelings create memory.

Lower Dens is able to layer a variety of sounds through precise musicianship that doesn't require any masturbatory moments and so everything feels very deliberate and thought out. The result is a blend of post-punk, folk, goth rock, blues, and shoegaze that allows the listener to go to a place of intense mood that I would say is influenced by the music but not pushed. I personally went to a very zen place while listening to Twin-Hand Movement but I could see this album being great for a variety of situations.

The production is really great on this album and allows the listener to exist within the aural construct that the band has created. Clearly a lot of care was put into every detail of this album from production to song-writing to even Jana Hunter's beautiful photography for the cover art and it doesn't go unnoticed.

To me one of the recurring themes of Twin-Hand Movement is an awareness of the function of time. No moments are wasted but none are glorified either. This is to say that each second of this near thirty-nine minute album is appreciated with no fat simply for the sake of padding out a song as is shown with several tracks around the two-minute and thirty second mark and others as long as six and a half minutes. So this allows each song to develop as it needs to. In that sense the songs come off closer to compositions but with a pop edge to them, like Mogwai meets The Cure.

Though there is something very understated and subtle about this album I think that it will be one of my favorite of 2010 (or perhaps because of those reasons). I highly recommend checking it out, maybe brewing yourself some tea, put on a low-light, get comfortable and just chill out. This is also an album that is probably worth investing in the LP version and hearing it on vinyl.

Favorite Tracks: Blue & Silver, A Dog's Dick, I Get Nervous, Plastic & Powder, Rosie, and Truss Me

Album a Day (Single Edition): Dntel - (This Is) The Dream of Evan and Chan

2010-09-12T12:27:00.000-07:00

There have been countless numbers of bands that only release one record, but only a few have really reached the cult-like status of The Postal Service who gained a bevy of praise and adoration for their 2003 album Give Up. To date that album, three singles, and a few random covers and remixes has been the only material released by the collaboration of Jimmy Tamborello and Ben Gibbard under the banner of The Postal Service. However, that is not all the material made as the two first collaborated 2001 on Tamborello's indietronica project Dntel with Gibbard providing vocals for the song "(This Is) The Dream of Evan and Chan" that would first appear as part of the album Life Is Full of Possibilities and later as its own six-track single (which conveniently we are discussing here today).

"(This Is) The Dream of Evan and Chan" is perhaps actually my favorite collaboration between the two, which isn't to take anything away from the later Postal Service work but rather just an indication of just how good this song is. Aesthetically the song has this interesting mixture of complex, almost avant-garde, programming mixed with a strong pop sensibility. Though the strong hooks of Gibbard comes as no surprise given his long-time involvement as the vocalist for Death Cab For Cutie, Tamborello is no stranger to popular music with his work in another electro band by the name of Figurine and his years served as a DJ and Music Director over at KXLU. What is surprising is how early the styles of Tamborello and Gibbard gelled together to form a beautiful song which Tamborello has said was inspired by a dream Gibbard had about Evan Dando of The Lemonheads and Chan Marshall a.k.a. Cat Power.

Jimmy Tamborello's song construction shows a great understanding of musical arrangement that builds slowly, sustains something captivating, builds to a crescendo, and fades away leaving the listener in a state of a zen-like emotional tranquility that is only amplified by Ben Gibbard's deeply understated emotional vocals that are beautiful without overpowering any other element of the song and carrying the viscerally intriguing lyrics that shape every notion of a dream-like state.

Fortunately the title track isn't the only gem on this single with four diverse remixes and a b-side. Each remix has its own distinct style with only of the tracks solely containing the original vocal track. Its so interesting to hear the guest vocals provided by Kings of Convenience vocalist Erlend Øye on the "Spilled My Drink Mix" by Matthew Patterson Curry's Safety Scissors. It's rare to find an artist that allows a song to be taken as far out of the original context as to both have a remixer and new guest vocals but the end result is really pleasant and reminiscent of Norwegian electro-act Röyksopp. There is a very casual/lounge nature to this version that allows the listener to sit back and drift off the sleep that results in the original version of the song. Øye's rendition of Gibbard's lyrics paint a slightly different picture that sounds closer to a narrator of a scene rather than participant, which is a really curious contrast to the original vocals. Perhaps this creates a scenario in which Gibbard is singing from the perspective of Evan and Øye is something more of a watcher or spectator.

That remix and the following one by Barbara Morgenstern are easily my favorite two on the disc perhaps if nothing else because of the additional guest vocals on each. In the case of the latter remix Gibbard's vocals are still present, though appearing the form of a duet with Morgenstern herself, who starts off the song with her vocals that match Gibbard's vocals in beauty and sincerity. I'm always a fan of hearing female covers of originally male vocals and vice versa but to take both voices to create a duet puts this version of the song in to a whole new spectrum for me. In this sense you feel like Gibbard and Morgenstern assume the roles of Evan and Chan. The remixed music here is much more minimal, really highlighting the strong vocal work of both musicians while retaining Tamborello's original musical intentions.

The last two remixes by Superpitcher and Lali Puna are both interesting in their own right with Superpitcher retaining Gibbard's original vocals and essentially making an extended club mix while Lali Puna is the only version to remove the vocals completely and focus on re-imagining Tamborello's music. Both of these songs are good but have a difficult time following the first three tracks which are each just amazing different versions of the title track. But while not as strong both remixes do have their place on the CD with Superpitcher's version providing a track that is more club accessible and Lali Puna having the only remix on the CD that retains a sound so close to the original track while still making a distinct remix that is very well executed.

I'm glad that Dntel decided to end the single with a b-side that continues to showcase Tamborello's talents with the b-side "Your Hill". I love that the song starts off with a fantastic accordian that is just absolutely endearing. Again, Tamborello's song construction shows great intelligence capturing the listener early and then building layers to a point where the listener has gone on an entire journey by the time the song is over. Tamborello also shows off his own vocal work (though it takes about half the song to appear) in a way that is refreshing and reminds me of the same impact when Tom Jenkinson (a.k.a. Squarepusher) decides to pull out his own vocal talents. "Your Hill" is a great finisher as the single initially drew on the popularity of Ben Gibbard's Death Cab For Cutie acclaim but hopefully entices the listener to further explore Dntel even if The Postal Service never returns.

Favorite Tracks: (This Is) The Dream of Evan and Chan, (This Is) The Dream of Evan and Chan (Safety Scissors Spilled My Drink Mix featuring Erlend Øye), (This Is) The Dream of Evan and Chan (Barbara Morgenstern Remix), and Your Hill

Album a Day: Cylab - Cut & Coil

2010-08-31T12:31:00.000-07:00

It's hard to believe that Cut & Coil is only the third album from the transcontinental Cylab (though fourth release if you factor in the remix album Disseminate). Each release from this band shows more and more solidification of sound and style and no doubt this brand new album is their most mature work to date. Cylab, first conceived in 1999 by New York City's Percy Trayanov, began to grow to with the addition of vocals by one of my favorite vocalists Severina Sol, who of course you know as a former member of Diva Destruction and more recently as one half of my favorite new band, The Break Up, in addition to her contributions to Fockewolf and early-Atomica. Unfortunately, Cylab's first album, 2004's Unparallel Universe missed most radars, but the band began to gain notoriety for their remixes of Christ Analogue, Agonised By Love, and Collide and finally topping things off with their 2006 self-released sophomore album, Satellites and companion remix album, the subsequent and aforementioned Disseminate. Are we all caught up now? Good, because as good as any previous Cylab material is, Cut & Coil blows it out of the water. There are a number of things I love about this album but what really stands out the most to me is that I think Trayanov and Sol (with contributions from drummer Dre Robinson, who joined the band after his own work on the brilliant Skinny Puppy album Greater Wrong of The Right and just around the time of Satellites) have finally established what exactly the Cylab sound is. Though the post-apocalyptic trip-hop-induced-industrial was evident on previous albums, that sound here feels like an all-out attack, a declaration of war that will not stop until it has skull-fucked everyone in sight. Believe me when I say that Cylab ain't fuckin' around and every listener should enlist in the Cylab army while they're still recruiting. Ok, enough with the war metaphors because in addition to being a hard-hitting album it is also full of heart, mystery, and is sexy as hell, though none of this should could as a surprise as the potential was always there, it's just that the result is finally here kicking down the door (I guess that could be another war metaphor but I swear its my last). A large part of that confidence is displayed in the diversity of the album with elements of industrial, trip-hop, EBM throughout, and then individual songs each having their own thing going on that allows the album to hold consistency while giving each track the ability to stand alone. A great example of this would be a track like, "Trigger" which feels like the rest of the album, has a very punk-rock feel to it that isn't really present anywhere else, but doesn't seem out of place, rather just another movement in the album. I also love that Trayanov demonstrates his classical-piano background on "Cocoon". His piano talents are as beautiful as Sol's vocals and I would love to see the two of them either infuse more of this into the Cylab work or even pursue a side-project that shows off different interests of the same members like Estampie for Qntal or Tanzwut for Corvus Corax. Once again Sol's vocals here are as haunting as ever and Sol's stock is quickly rising with strong showings this year in both Cylab and The Break Up. Severina has really demonstrated her own ability to retain her style and essence while being able to lend her vocals to a range of different sounds. This puts her in the great position where hopefully more bands will begin to contact her for guest vocal work, something she has not been a stranger to in the past with more recent contributions to Hatesex, Caustic, and Embodi. I would love to her Sol work other talented vocalists like Iris' Reagan Jones, Seabound's Frank Spinath, or even similarly-styled Collide/The Secret Meeting vocalist kaRIN. Content-wise I think Cylab also continues to stay strong as the songs here mix science fiction with universal themes of spirituality and rebirth. The band looks forward with new sounds like the previously mentioned "Trigger" and "Dragonfly Dream" while referencing the great work they did on their previous album with the track "Spheres". All of this in addition to really cool album-artwork that really pops, slick production, and hard-work will only help Cylab push the boundaries of what is possible for this band, which I think as hard as it may be to believe given how good this album is, only can go up in my opinion. Favorite Tracks: Skin, Dragonfly Dream, Shifting Time, Red Blood Clay and Dust, and Trigger

Album a Day: !!! - Strange Weather, Isn't It?

2010-08-26T11:30:00.000-07:00

When I think of the Sacramento-native !!! (this is the place in a review where they normally tell you how to pronounce the band's name) my mind immediately goes to "dance epic". Now this can be taken a number of ways: on the one hand you can take this words in tandem to mean that the music of !!! is a "dance epic" in the same vein as a "rock opera" but much more like"Thriller" or Xanadu. On the other hand we can simply break down that the music is epic and you happen to be able to dance to it. The former referring more to a planned act of something conceptual and the latter being a series of descriptive yet seemingly unrelated adjectives. To this analysis I say that all of the above is true and exemplified so well in this brand-new album, Strange Weather, Isn't It? from the dance-punk nightmare of !!!. First formed in 1996 from an amalgamation of other local Sacramento bands such as Black Liquorice, Popesmashers, and hardcore-act Yah Mos, !!! would eventually release four albums between 2000 and 2010 starting with a self-titled album and inevitably winding up here with what I would say is perhaps their most mature work to date. The band has continued strongly with their signature blend of funk and electro-pop fused with elements of punk and hardcore (its ok to tell me that those two genres are the same but others may punch you in the solar plexus for that statement). What I'd say is different between this album and previous ones is that I think !!! continues to just own it more. That is say that while previous albums may feel like a track playing in a club, I would equate this album much more to the down-the-street-strut of Tony Manero. To me Strange Weather, Isn't It? elicits a very visceral reaction that not only makes me want to dance but rather boogie with the cosmos or simply melt away into a montage of the Big Bang (I can't help if my visceral reactions mostly have to do with space). I love this album and the continued quirkiness of the band. I love that there's a very poetic quality to !!! but less W.H. Auden and more Jack Kerouac. Sonically the eight-piece ensemble is able to create an album that is very layered as is demonstrated on the uplifting "Steady As The Sidewalk Cracks" but comes off as very bare and minimalist as exemplified on the more down-tempo "Hollow" that allows the listener to crawl somewhere between the cracks of the music like having a cave amongst the layers. "Hollow" is one of my favorite tracks as the song, like many of the songs on the album, not only takes from a place of those great decades of funk but also has a very 90's sensibility to it not only with the sampling but the pace of the music as well. The other previously mentioned track "Steady As The Sidewalk Cracks" also has that sensibility, reminiscent of the Sting's "Shape of My Heart" but jazzed up and mixed with a bit of Jackie Wilson's "Higher and Higher". My favorite track on the CD may be the much more disco-flavored "Even Judas Gave Jesus a Kiss" not only for its obvious tongue-in-cheek blasphemy, which I'm always a fan of, but to look beyond that silliness you see a genuine song questioning aspects of Christanity, history, and how that relates to much more modern concepts. !!! has the ability to make you smile and think all while sticking their tongues out in a playful yet punk kind of way, which is why they have continued to be successful with one of the more intense dance albums I've heard in quite a while. Favorite Tracks: Jamie, My Intentions Are Bass, Hollow, Even Judas Gave Jesus a Kiss, Steady As The Sidewalk Cracks, and AM/FM

Album a Day (EP Edition): Ascension of The Watchers - Iconoclast

2010-08-21T13:46:00.000-07:00

I first heard Ascension of The Watchers back in 2005 with the release of this first EP, Iconoclast, and was completely taken aback by this beautiful melodic debut collaboration from two of the music scene's icons of metal/industrial, Burton C. Bell (Fear Factory, G/Z/R) and John Bechdel (Prong, Fear Factory, Ministry, Killing Joke, Murder Inc., False Icons). Ascension of The Watchers first started in 2002 during a Fear Factory sabbatical when Fear Factory leader Burton C. Bell left the craziness of Los Angeles to visit touring-mate and friend John Bechdel at his home in rural Pennsylvania. Bechdel and Bell and discussed collaborating on something together but Bechdel was under the impression that Bell would be bringing full songs ready to go. Instead Burton showed up with a guitar, some basic ideas, and a desire for a true collaboration between the two. The end result is this fascinating 2005 EP that genre-wise is somewhat hard to categorize but mixes elements of goth, shoe-gaze and ethereal with just good old fashioned singer/songwriting. The EP is a very spiritual journey and has a breathtakingly peaceful quality that can best be attributed to the band's surroundings in the aforementioned rural Pennsylvania. I grew up in Western Massachusetts and spent my undergrad days in upstate New York so I can attest to the serenity that one feels, especially in comparison to the mental fog that can get created when you're in an area like LA for too long in addition to the constant touring that both men have participated in for so long. I've been a Fear Factory fan for a long time but this side of Bell really shows off some of his other talents including passionate, beautiful vocals that compliment very understated lyrics. The lyrical content of this release is very poetic but is configured in to the music as an element rather than the focal point which to me helps showcase the intoxicating arrangements. The album name Iconoclast traditionally refers to the deliberate destruction of a particular religion within a society by the society itself, usually to make way for new modes of belief. I think that are probably a few things the band may be referring to here but to me I get this sense that is symbolizes the tearing down of the type of music and way of life that Bell had become accustomed to and even a symbol for to make way for this EP which I think reads as a rebirth for Bell. For a man that certainly was burnt out from Fear Factory at the time, you certainly wouldn't know it from this mini-album which is just full of passion and in Bell and Bechdel's own words is very heartfelt. I love that all of the songs tend to lean on the long side as they really have time to develop and fester, especially the last track, "Quintessence" at just over ten minutes and without vocals. This song reminds me a lot of Godspeed You! Black Emperor and shows a very experimental side of the band that contrasts nicely with a more folk-pop song like "Moonshine" (my favorite song the album). All of the songs would be slightly redone, extended, remastered, recorded, etc. for the bands much more wide-spread full-length 2008 release Numinosum but I love the raw nature of the recordings on this release. The newer versions are good but I have a certain affinity towards these early recordings like being in on Bell and Bechdel's process. This self-released EP comes in a beautiful foldout digipak adorned with really haunting yet serene photography by Burton C. Bell and also features an interactive program that has the bands bio, a short interview and a music video for "On The River". The music video is fairly simple with one sustained scene of Bell and Bechdel in a boat on a river presumably near Bechdel's home with the camera in between the two just spinning around and catching both men contemplating and Bell singing along. This isn't an amazing video but serves the song well in creating a dizzying quality like spinning around in circles until collapsing on the ground with the giggles. The short interview is a highlight of this release as Bell and Bechdel discuss the origins of the band while signing AOTW posters (which are great and have the band's killer icon). There's a very casual element to the interview that matches the colloquial quality to the album. This EP is a rare find but if you spot it then I highly suggest adding it to your collection. Favorite Tracks: On The River, Moonshine, and Quintessence

Album a Day: The Break Up - The Break Up

2010-08-17T23:43:00.000-07:00

The Break Up is easily one of the most exciting bands I've heard in a long time. Formed officially in 2007 ,the duo of Shane Allen Hall (who many in the NYC and Seattle club scenes may know as either Blix Krieg or Terra Hymen) and Severina Sol (Cylab, Fockewolf, Diva Destruction, Atomica) began playing live shows in 2009 before the official release of any album. Though it took about three years to release The Break Up one could argue it took about a decade with Hall and Sol first jamming together in the earlier part of the 2000's. Perhaps this is the formula all bands should take as this self-titled debut release is really amazing. At just under and hour this album feels like a journey that is much longer (though never boring). Hall does a great job of mixing elements of darkwave, synthpop, and electro-industrial to create a very unique sound that really transcends any particular style while still retaining something that sound very familiar. Of course all of this is complimented so well with Severina's vocals which are really so diverse that they have worked well for a number of styles. As much as I love Sol's other projects, I feel that The Break Up really flexes her vocal muscles while allowing her to experiment with a variety of emotions. This might be the most impressed I've been with Severina's vocal range both technically and stylistically. Throughout all of that Severina's voice always retains a very haunting quality that stays with you long after the music has ended. I think a lot of this can also be contributed to Sol lyrical talents. I first met Severina around the time of the first Cylab release and can tell you that she is a very spiritual person with an affinity for mystical (one of the things I adore about her the most). I think that side of her really shows on this album especially on a song like "Trapeze". My favorite line from the song has to be "I dream in galaxies and dance amongst the stars". The beautiful imagery here is so poetic. If Sol were to ever write a book of poetry I would be the first in line to read it. I had never heard any work by Shane Allen Hall up until this album but with this release he has propelled himself to the top of my list of favorite song writers. You can tell that there's just a lot of effort and attention to detail that he puts in to his work. I sometimes understand the point that critics make when discussing the lazier points of electronic music because it is fairly easy to create a few beats and just sort of let them go but no one can make that argument about Hall. His music has great movement to it, nice little moments in the synths that create personality, and there's both appeal for the clubs or just sitting at home and bobbing your head (something I did constantly while listening to this album). Critics have pointed to The Break Up as having a very retro sound, which I would somewhat agree with but adding in the caveat that Hall and Sol not only embrace a sound that never should have gone away in the first place, but add something very cutting edge to it. I would never accuse this band of looking back as I think they have nowhere to go but up and forward. Certainly the band's sound is reminiscent of 80's band like Berlin, early De/Vision, and Rational Youth but I think you'll find elements of The Dreamside, The Crüxshadows, Grendel and IAMX as well. It should come as no surprise that the production on this album is really tight as the duties were handled expertly by fellow Seattle musician Jasyn Bangert (God Module). The album flows really nicely with a great range of sound from the more subdued tracks like "Black Ocean" and "Tread Softly" to clubbier singles like the intoxicating "Who's Crying Now" or the militaristic "Guillotine". You also just really have to appreciate the pageantry that Hall and Sol put in to their visual style with a mix of new romantic, victorian goth, and just plain class. I wish more bands would take the time to look as incredibly sexy as both Severina Sol and Shane Allen Hall do as it not only sends the message that we care about our live shows, we care about our fans, but we have musical skills to back it the fuck up. I highly recommend you pick up this disc and keep an eye on where this project is going so if nothing else you can be elitist and say you heard them way back when. Favorite Tracks: Who's Crying Now, Addict, Trapeze, Tread Softly, Guillotine, and Requieum

Album a Day: Within Temptation - The Silent Force

2010-08-16T12:01:00.000-07:00

In 2004 Dutch symphonic band Within Temptation released this junior album, The Silent Force. According to lead singer Sharon den Adel the title was taken from a book by Dutch poet/novelist Louis Couperus and the majority of the album takes from said book. Though I do love the most recent work of Within Temptation, I think that this album still stands as my favorite. I had heard Within Temptation sitting in my buddy Kilean's place listening to albums and watching PAL DVDs that he managed to get a region-free DVD player for, but this album was the first one of their that I owned and really took the time to make my way through. There's so much heart on this album that this is a perfect album to share with someone you love for all the emotions involved. Sharon den Adel's vocals are so passionate but not just one note. In fact the entire band really knows when to play up the heavier guitar moments and throw in an entire orchestra and when to sit back and just let the vocals and a piano (or keyboard anyway) do their job. Really there are no bands doing exactly what Within Temptation does, though there are plenty that try. One of my favorite aspects about this album is not only in the hooks of the songs but also the positive message on a song like "Stand My Ground". Its interesting that when you see Within Temptation play live you get the sense that this is somehow a fantasy metal band like so many that are out there but I think this album is very much grounded in reality making it all that more accessible. The album has solid production that lends itself well to a myriad of sound that at times can include the six regular musicians in the band and an orchestra. In fact the addition of an orchestra is really amazing. A number of bands such as Metallica and Wolfsheim have used orchestras before but usually when performing a special version of an existing song, here Within Temptation finds particular moments to deploy the Ego Works Session Orchestra to enhance songs rather than take focus away from the music. Within Temptation is generally good about finding a balance between spectacle and substance. My only complaint about this album is that there a variety of different versions with different bonus tracks and so its difficult to hear all of them without spending a fortune to buy each different one (especially when most of them are imports. My version is the UK version which includes the bonus tracks, "Destroyed (Demo Version) and "Jane Doe". "Jane Doe" (written by Guus Eikens of Orphanage) feels much more like a classic Within Temptation song which is to say more of a metal edge and the addition of more distorted vocals that the band used to employ. Its fascinating how many singles are on this album and really how many of the songs have become staples of Within Temptation's live show with various versions appearing on other releases including the band's live CD Black Symphony and later acoustic session An Acoustic Night At The Theatre. I think this really speaks not only to Sharon den Adel and Robert Westerholt's lyrics, or the music that backs it, but also the bands connection with the fans that make the songs so popular. If you watch the live DVD from the tour to support this album you can see so many people singing along to songs that hadn't been out for that long but as if they had been for years. I also love the artwork on this album as there's something minimalist but very powerful about it. This is a great album and a must have if you are a Within Temptation fan or fans of similar music. Favorite Tracks: See Who I Am, Jillian (I'd Give My Heart), Stand My Ground, Angels, Memories, and Jane Doe

Album a Day (DVD Edition): Einstürzende Neubauten - Palast Der Republik

2010-08-15T23:38:00.000-07:00

Einstürzende Neubauten loves their fans. I mean truly its difficult for any band to stay together three decades and retain such control over their music so Neubauten turns to the fans for support and in turn reward them. One such reward would include a 2004 "supporter-only" concert (in reference to the band's initiative to put out work without a label but rather the financial backing of their fan-base via donations) at Berlin's Palast Der Republik, an iconic building that housed, amongst other things, the East German Parliament, though this rather be a skeleton of the former building which was in the process of being torn down (a beautiful reference to Neubauten's name which literally means Collapsing Buildings). A video of the show was recorded and released as an exclusive supporter's only DVD and would not be released to the public until 2006. It's a good thing too because this is a great DVD for an Einstürzende Neubauten fan. If you haven't seen a Neubauten show then you are missing out. The band is widely recognized for their unique use of industrial machinery, products, waste, etc. in their music making and all of that is on display here with garbage cans, power tools, sheet metal, PVC pipes, and even the building itself. As the show goes on the usage only becomes more creative with highlights including a moment where a series of beer can boxes filled with who knows what and tied together by string is dragged around the building by one of the band members as part of one of the sequences of "Grudstueck". My personal favorite moment is when the band uses an air compressor with a mobile made of bottles, a device that was explored in depth on the album Perpetuum Mobile. The song selections are really solid with a mix of iconic older tracks such as "Haus Der Luege", "Armenia", and "Sabrina", newer songs like "Youme & Meyou" and the epic "Perpetuum Mobile" and then the highlight has to be the middle of the performance which includes "Grudstueck" movement from the 2nd supporter-only album. Another innovation and show of love towards their fan-base is featured on several songs where the band is supported by a 100-piece chorus made of their supporters enlisted directly from their website. One of the things I love about Neubauten has been their ability to take experimental music and make it accessible. That whole idea translates very well to this DVD because you get a mixture of concert and performance, like watching Stomp. Its easy to watch this DVD over and over again to notice all the different ways in which the band is creating sound. In fact a DVD like this should be mandatory for any kind of college sound program, especially for foley artists and experimental musicians. But even if you're not super in to experimental music this is a fun show to watch, chill out to, and just enjoy the pioneers of industrial music dressed up in nice suits showing you don't have to be rich to make music. The DVD also includes two bonus tracks that are part of the concert but for some reason omitted as part of the main DVD movie ("Die Befindlichkeit Des Landes" and "Redukt"). The video of the show could be slightly better but the sound recording is phenomenal. Favorite Tracks: Haus Der Luege, Armenia, Youme & Meyou, Perpetuum Mobile, Grundstueck, Was Ist Ist, Sabrina, and Redukt

Album a Day (Concert Edition): Rasputina w/Larkin Grimm at The Troubadour (West Hollywood, CA 8/14/10)

2010-08-15T12:23:00.000-07:00

Yes! I actually went out to a show last night. This doesn't seem that amazing because I used to go to concerts on a weekly basis when I was an undergrad at Ithaca College in Ithaca, NY and back then I didn't even have any money. I would ask my parents for 80 dollars and I would live off of that for upwards of six months. I mean we had a cafeteria, I rarely needed to drive my car, and I was going to concerts for free doing interviews for my radio show. But now I have a job, I have artwork to make, and I live in Los Angeles where concerts are expensive (though hopefully I will now be returning to my free show ways between this blog and writing for a Magazine! Keeping my fingers crossed for Gary Numan in the Fall). But regardless of all that, last night's show was really spectacular as both bands had a great energy but the style of music was something that you could just relax and absorb. Up first was an act I had not heard of up until this point by the name of Larkin Grimm. We all know opening acts can be a crap-shoot but I thought Larkin Grimm was great. She was funny, talented, interacted well with the crowd. She came out with her three-piece band (Larkin on guitar and a harp that she was able to strap on like a guitar, a girl on bass, and guy that was an entire percussion section unto himself) all adorned in feathers which I'm not sure if that was their particular style or more in-line with Rasputina but I thought they were a nice compliment to everything. Larkin Grimm combines a nice mix of folk, indie and soul that results in sometimes beautiful, sometimes maddening music. I think she played to the maddening just a bit because of the Rasputina crowd (which she pointed out how different a reaction she got from Rasputina fans when mentioning that one song was a little gorier of a tale than others). I loved the job the drummer did as he not only played the drums with various different kinds of sticks to create different sounds but also, like a good percussionist should, had an array of other tools of sound. It was also really interesting to notice Larkin Grimm's affinity for the West as permeates in the style but comes to the forefront in the song "Ride That Cyclone" from her 2008 album Parplar (an album I certainly hope to be reviewing in the near future). The Yale graduate actually grew up in the south born in Memphis, TN and eventually relocating as a youth with her hippie parents to the Blue Ridge Mountains of Georgia (not quite the west but you get the idea). I thought Larkin Grimm's music and personality were both incredibly charming and I became a fan. Rasputina was equally amazing. I've been a fan of Rasputina for a long-time now but this was my first time actually seeing them in concert. The first thing I wrote down while taking notes about this show was "real musicians have afghans" referring to 2nd chair and first male cellist the band has had, Daniel DeJesus' afghan he sat on during the show. Of course all three band members (1st chair cellist, founder, and banjoist Melora Creager, the aforementioned Daniel DeJesus, and percussionist/punk-rocker Catie D'Amica) were sitting during the performance which I thought couple with The Troubador set-up added for a really intimate show. Even though I have lived in Los Angeles for three years this was actually my first time to The Troubador. My compatriot, Brian, and I came early, found free street parking, and enjoyed a nice West Hollywood dinner at a Brazilian Restaurant by the name of Bossa Nova. I thought the food was excellent with generous portions for decent prices. The Troubador (or Doug Weston's Troubador if you're a dick) is a great little venue with hardly a bad spot in the house (though I wish the stage was just a big higher so I didn't have annoying obsessive fans starting to sit on the stage in front of me towards the end of the show. Seriously, this one girl was on her knees, on the edge of the stage right by DeJesus taking pictures to her phone. DeJesus looked over at her at one point to make sure he didn't accidentally hit her with his bow. But on a side note she fell down off a curb after the show so all is right with the world). The Troubador has a nice upstairs section you can also watch the show at (I think its for advance ticket buyers but I could be wrong about that) which I did not venture to but seemed cool if you like sitting. Back to the show itself, Rasputina played a variety of songs from a variety of albums which my friend Brian (a slightly more dedicated Rasputina fan than me) pointed out seemed largely in couples. I loved all of Melora Creager's banter between songs including that in the band's free time they are statisticians for fun, they have found ways to combine their work and pleasure, and that 92% of Rasputina songs are true. Melora also had a great line about how she lives in a very homeopathic community and when she was pregnant everyone pressured her to have a home birth. Well she had compromised by having a home Caesarean section. I also enjoy how smart her quips were including a line about the next song being accepted recently as the theme song for a new sitcom about Emily Dickinson. The crowd was a very dedicated fan-base, yelling out request after request in spite of Creager stating that this was not the time for requests but that it would come later until she finally submitted and played "Watch T.V." from How We Quit The Forest. The musical highlights for me were "Rats" from Cabin Fever!, "Watch T.V.", the covers (which of course Rasputina is famous for) of The Undertones' "Teenage Kicks", Pink Floyd's "Wish You Were Here", and CCR's "Bad Moon Rising". In addition I also loved all of the encore songs which featured "Bad Moon Rising" from The Lost and Found (2nd Edition), "Hunter's Kiss" from Cabin Fever!, "Wicked Dickie" and "Possum of The Grotto" from Frustration Plantation, "Diamond Mind" from How We Quit The Forest, and finally finished off so well with "The New Zero" also off of How We Quit The Forest. Overall a great show and I was home by 1:30 (if you like sleeping, which I do).

Album a Day: Hollywood, Mon Amour - Hollywood, Mon Amour

2010-08-12T19:38:00.000-07:00

If I were a religious man I would make Marc Collin my personal lord and saviour. But I'm an atheist so I'll have to settle for a lot of admiration. First Marc Collin brings the world his bossa nova-style punk/post-punk/goth/modern rock/new wave cover band Nouvelle Vague featuring some of the most talented female vocalists France has to offer. Not good enough for you? (Wow, selfish much?). From Marc Collin's genius mind we also get Hollywood, Mon Amour, which much like Nouvelle Vague is a nod to the French New Wave (Nouvelle Vague translating from French to mean New Wave) with the name being a play on my favorite French New Wave film, Alain Resnais' Hiroshima Mon Amour. The music style is very much the same but the aim of this project is more geared towards reworkings of movie theme songs. As both a lover of the Nouvelle Vague-style and a filmmaker I adore this 2008 self-titled release for its emotion-melting abilities and wise song choices. In league with Marc Collin's tastes displayed with the Nouvelle Vague-project, all the film's are from that decade I was born in to called the 80's. I really like this collection because Collin doesn't always have to go for the most popular songs (though there are plenty of those there as well) and so I think the album doesn't necessarily just play like a compilation but rather allows Hollywood, Mon Amour to explore a variety of styles and put together a cohesive album. Collin's arrangements are so beautiful and I think this release has a particularly calming effect that allows the listener to occupy a space inside the album for sixty or so minutes of the album. However Collin is not alone here once again aided by many of his Nouvelle Vague compatriots and a bevy of talented femme fatal vocalists including Skye, Katrina Ottosen, Nadeah, Dea Li, Yael Naim, Cibelle, Nancy Danino, Leelou, Inga, Bianca Calandra, and the incomparable Juliette Lewis. Though I wish this release could have included my favorite Collin-co-conspirator, Melanie Pain, it was refreshing to see a mostly new line-up of women from the aforementioned sister project Nouvelle Vague. I feel like I could write entire entries about each track but the story of the album is a lot of sexiness in a slue of great song choices. Collin really takes the time to reinterpret these songs and so a track like Survivor's "Eye of The Tiger" (from the film Rocky III) traditionally elicits that image of a montage of preparation where Hollywood, Mon Amour's version feels more like a retrospective tale told by the campfire. Another great example would be the theme from the Bond film For Your Eyes Only (one of two Bond songs on the album with the other being the infamous Duran Duran-penned "A View To A Kill"), which one would traditionally think of with deception, secrecy, etc. but here the band creates this amazing sense of intimacy. The real soft spots in this album for me have to be "Arthur's Theme (Best That You Can Do" and "When Doves Cry". Collin's sense of emotion is so well complimented by songs that are fairly emotionally epic on their own. The limited edition version of the album also contains three great tracks including Berlin's "Take My Breath Away", the theme from Electric Dreams, and the theme from Butterfly. This is a beautiful record and there's a lot of appeal here whether you're a fan of Nouvelle Vague, Marc Collin, any of the singers, any of the films, etc. so I highly recommend picking this up and here's hoping that this project is not just a one and done. Favorite Tracks: Call Me, Eye of The Tiger, When Doves Cry, A View To A Kill, Flashdance...What a Feeling, Arthur's Theme (Best That You Can Do), For Your Eyes Only, and Don't You (Forget About Me)

Album a Day (EP Edition): Combichrist - Frost EP: Sent To Destroy

2010-08-10T23:37:00.000-07:00

I would say I pretty much always enjoy the work of Andy LaPlegua whether it be Icon of Coil, Panzer AG, Scandy, or in this case Combichrist. Of his projects Combichrist is my least favorite but not because it's less than good but rather because I just love the other projects so much. However, as good as those bands are I think Combichrist+remix=gold. Whether its Combichrist remixing or getting remixed I'm generally satisfied with the result. I think the quality result comes from two factors. The first is that Combichrist is without a doubt the most popular of LaPlegua's projects, I think even surpassing Icon of Coil which is certainly a feat so that is going to attract a lot of wanting to remix his music. The second reason is that a lot of credit has to be given to LaPlegua for his choices on who to work when it comes in terms of who to remix and who to be remixed by, often seemingly trading a remix for a remix. This isn't to say that all the remixes are great as the 2008 Frost EP: Sent To Destroy (yin to the yang of the later released Heat EP) demonstrates both good and ok remixes (thankfully none are bad, some are just neither here nor there). The EP is essentially divided in to three parts beginning with two original tracks, "Sent To Destroy" and "Prince of E-Ville" sandwiching an instrumental version of "The Kill", followed by three remixes of "Sent To Destroy" by Rotersand, Northborne (which features former Icon of Coil bandmate Christian Lund), and Suicide Commando, and three remixes of "Prince of E-Ville" by Babyland, Accessory, and Caustic. The three original tracks here are great. "Sent To Destroy" is a pretty standard industrial club anthem about war, nukes, post-apocalyptic scenarios. I do particularly like the chorus "Your God sent us to destroy". I was actually a little less impressed with the remixes of this song, especially the Rotersand Rework (although I do always love that Rotersand calls their remixes "reworks) as Germany's Rotersand usually puts out really interesting remixes that can take songs in entirely different directions. Its not bad, its just not all that different from the original version, same thing with the Northborne remix. The only remix I really enjoyed of this song was the version by Suicide Commando. Suicide Commando is a band that pretty much usually just makes other songs sound like Suicide Commando songs but its consistent and good. I normally don't like instrumentals as I'm big on vocals but I though the instrumental version of "The Kill" was very catchy and since Combichrist vocals are often just used as another instrument in a song I didn't miss the vocals. If anything the lack of vocals probably helped break up the EP just a little. As good as the title track of this EP is I thought the real standout here was "Prince of E-Ville" is a really funny track poking fun at members of the Goth/Industrial scene. I especially love the line about smoking Cloves and the sample from the film The Convent. I don't think Combichrist is lyrically breaking any ground or anything T.S. Eliot would be proud of, which is probably the reason Combichrist is my least favorite as LaPlegua has shown more thought and talent with Panzer AG but that's not the point of Combichrist. Combichrist is fun and "Prince of E-Ville" takes that fun to a higher level, like if Voltaire made aggrotech (maybe someday). The remixes here are much better with Los Angeles' Babyland probably putting in the greatest effort on the disc if nothing else but for taking the song and making it sound like something different but still catchy and adding guitars. The Accessory remix is pretty standard fair but solid and the other standout of the CD is probably the Caustic remix. I actually can't even say what Caustic's Matt Fanale changed about the song but there's something just tighter about it that really works. Overall this is a solid release for people that like remixes with slick production and slick artwork. One thing you can't say about Andy LaPlegua is that he skimps on releases with this forty-six and half minute EP. Favorite Tracks: Sent To Destroy, The Kill (Instru:Mental Version), Prince of E-Ville, Sent To Destroy (Sacrifice Remix by Suicide Commando), Prince of E-Ville (Princess Mix by Babyland), and Prince of E-Ville (Caustic Remix)

Album a Day: Berlin - 4Play

2010-08-08T13:33:00.000-07:00

Legendary 80's new wave band Berlin probably never REALLY got their just due. Sure, there was the popular hit "Take My Breath Away" but instead of that becoming their breakthrough song the band somewhat faded into obscurity and were plagued by problems ultimately leading to their breakup, disputes over rights to the band name (which was eventually won by Terri Nunn), lineup changes, etc. that never really helped the legacy of the band. So it was nice to see Nunn's recent incarnation of the band at least artistically rebound with 2005's 4Play. This album (which at just over half an hour and mostly filled with covers and live tracks should be called an EP) is the first really solid release of newly recorded material in several years (also depending on whether or not you liked 2002's Voyeur). The album features two new songs with the heartfelt "Scream" and club-worthy "Down and Dirty". I really like both of these songs and they show off Berlin's ability to grow and progress being able to hang with more modern electropop bands likes Ladytron, Robots In Diguise, and Goldfrapp, but I think the "Scream" is the real standout of the two. The song is emotional, has great structure to it, really nice synth work by Mitchell Sigman (though all band members are credited on the writing of the song). The vast majority of the album are covers including less surprising covers of Peter Gabriel's "Big Time", Prince and The Revolution's "Erotic City", and David Bowie's "Fashion" with "Erotic City" really being the best of these more expected covers of other 80's artists. "Erotic City" is already a great song and perhaps one of the more underrated Prince and The Revolution songs. Berlin has this great ability with covers to stay true to the nature of the song while really owning it and changing something perhaps just by being themselves which I think helps draw in fans of the original songs while pleasing old Berlin fans and creating new ones. This is probably best displayed on another track on this album which is a cover of Marilyn Manson's "The Dope Show". I first heard this song when it was released on a Marilyn Manson tribute album titled Anonymous Messiah. I played this song for years in the Goth/Industrial club scene and there's just something so pleasing about this cover and I actually had another DJ turn to me and say, "Who's covering this?" When I mentioned it was Berlin the DJ did a double take with a smile growing on his face. Terri Nunn also has a solo cover of Buffalo Springfield's "For What It's Worth" that I think is good but doesn't really do Nunn any favors for building a new audience. The other cover on the album is a live version of Depeche Mode's "Never Let Me Down Again" which is one of two live tracks on the album with the other being the classic Berlin song "No More Words" with the original line-up of the band from VH1's Bands Reunited. This is really great and anyone that is familiar with VH1 live tracks knows that the recording is great because you get a great mix of studio professional recording while still retaining a live feel that people want from a live track. The iTunes version of the album omits the "For What It's Worth" cover but includes an acoustic version of my favorite Berlin track, "The Metro". I really wish this had been included on the album as I can never get enough versions of "The Metro". The production on this album is really tight and I think 4Play is successful in offering something for the old fans and something to build new ones that I hope will eventually result in at least one more studio album. Favorite Tracks: Scream, Erotic City, The Dope Show, Down and Dirty, No More Words (Acoustic from VH1's Bands Reunited), and The Metro (Acoustic iTunes version)

Album a Day: The Trinity Project - The Subtle Movements of The Entropy Engine

2010-08-06T12:54:00.000-07:00

I am one hundred percent in favor of side-projects because its very easy to say, "Well, this is the main thing I want to be known for and here are my other interests so I should explore those as well." As an experimental filmmaker I often branch out into writing (short story, poetry, and these meditations on other artists' works), DJing, and someday I'll probably get back into narrative film where I started (just as a side thing), so I totally get the idea of side-projects. Unfortunately we don't see this often enough in music and so either bands can become parodies of themselves and the music is just the same thing over and over or the band alienates their fans by doing things that are perhaps far too out of the realm of that particular project. Ego Likeness' real-life married couple Steve Archer and Donna Lynch completely understand this as both are not only musicians but they also paint, draw, write and who knows what else goes on in their creative world. So one of the results is Steve and Donna's 2002 release The Subtle Movements of The Entropy Engine under the name The Trinity Project. The album shows off Archer and Lynch's more experimental side that pushes the musical imagination. The album starts off with the complex 20 minute title track. Archer mentions in the liner notes that he had the name for the song/album about two years before doing anything with it and then recording the whole thing in about two weeks with intentions to later make the work into a film (eight years later we haven't seen the film pop up, but lets not blame the band as Ego Likeness' popularity has only gone up. But if you see them then ask when we're getting that). The title track has great movement to it and could certainly be put in the same class with a Godspeed You! Black Emperor. All the songs are good on here and you can tell what other kind of artistic modes that Archer and Lynch work in because many of the songs have a very non-linear quality to them. This non-linear mode is very interesting in relationship to the title which would see to refer to a slowing of the passage of time and observing those small gestures that can be made. My personal favorite tracks on the album are those with Donna Lynch's spoken word. I love Lynch's poetry (if you haven't read it then you are really missing out and should rectify this immediately) and so having the ability to hear it spoken aloud with noise and music only amplifies the experience. I hope some day that Lynch releases an album of just spoken word tracks with or without musical accompaniment. There are three of the spoken word tracks and my favorite of those is "50 Degrees Longitude 85 Degrees Latitude" (the other two are "If I'm Not Careful I'll Start To Get Scared of The Walls" and "Tornado") in which she recounts as a child developing a skin disorder that began to resemble a map. Lynch is very honest in her poetry (which at least on this album is always real stories) and so there's a very playful quality in things that are otherwise emotionally painful. Let's not forget that Steve Archer also is able to show off his numerous skills throughout the album not only musically but the album booklet also include some examples of his photography and artwork that are just so dense. And if that wasn't enough the booklet also includes little artist statements by both Lynch and Archer about several of the individual tracks giving you insight about the work each contributed and their thought process going in (yet another reason I personally prefer physical over digital). This album is up and down beautiful and I hope that someday we see another release from The Trinity Project. Favorite Tracks: The Subtle Movements of The Entropy Engine, 50 Degrees Longitude 85 Degrees Latitude, Love Gesture, If I'm Not Careful I'll Start To Get Scared of The Walls, The Flock of 1000 Sparrows, Votive, and Tornado

Album a Day (Digital Edition): Emergency Pizza Party - Shine Avenue

2010-08-04T23:28:00.000-07:00

As a general rule I'm very particular when it comes to nerdcore because Nerdcore usually means comedy and comedy in music is often just bad. Its not that music can't be funny its just that its either lazy or if you looked at a Venn diagram of musicians and comedians you would not find a lot of crossover (now who's nerdy?). By the way, if the term nerdcore is confusing then let's have a short lesson: Nerdcore is a sub-genre of hip-hop about self-proclaimed "nerd" topics (if you don't know what those include then there's a revenge movie from the 80's I can highly recommend). What's particularly interesting about these solo artists and groups is that, just like the earlier days of hip hop, everything is pretty much DIY and the vast majority of the music comes from sampling. In theory all of this sounds great but in my experience a lot of Nerdcore bands just lack any sort of real talent so please don't take it lightly when I say that Emergency Pizza Party is a great fucking group and this Junior release from the Orlando-natives proves it. I first saw Emergency Pizza Party several years ago when my friends Zombies! Organize!! took me along for a convention both bands played at in the greater Fort Lauderdale area. I though EPP did a great job and an even better one while playing a show with Z!O!! not long after at the legendary Respectable Street (or Respecs for any South Floridian) in West Palm Beach. To me though, Shine Avenue is their most musically mature album really covering a variety of hip hop styles and showcasing the different talents of the band. I think what sets EPP aside from many of the other acts and puts them in the elite of their genre (amongst those like MC Lars and MC Chris) is the level of seriousness they put in to the music. This isn't to say they take themselves too seriously as a lot of fun is had on this album, but rather there's a certain level of thought put in. This comes across the in great flow of the album with a really cool intro track like "Now Hiring" featuring Kabuto The Python, ending the music part of the album (there's a sort of joke track at the end) with a smooth track like "The Easy Way" and paying homage to some of the great hip hop albums by having a cool little comedy track in the middle where all the group members are trying to one up another on disses while one guy just doesn't get it. My favorite parts of the album tend to come from MC Wreckshin who also has some great solo work that is worth checking out as I would equate to the Method Man of the group and Betty Rebel who probably has the tightest rhymes and is featured on my favorite track of the album, "Kiss Kaboom". There's some nice guest appearances on here from Kabuto The Python, Rappy McRapperson, Chaotic Logic, KZA, and one of the more notable Nerdcore Rappers in the form of ZeaLouS1. My only complain with the album is that I could do without the homophobic moments, though if Nerdcore is really a hip hop sub-genre then perhaps its somewhat fitting but I really wouldn't miss it if it was gone. But this is really a small complaint as this is overall a really tight album from a band to watch out for as they may be one of the ones to break through the Nerdcore-genre if they keep this up. Favorite Tracks: Now Hiring (feat. Kabuto The Python), Reppin, Punch-Out!!!, Kiss Kaboom, Never Make The Airwaves (feat. KZA), and The Easy Way

Album a Day: Spider Lilies - Cyclogenesis

2010-08-03T23:28:00.000-07:00

Stacey Campbell's Spider Lilies project first began in 1999 with a single track produced and put on the internet by Rogue of The Cruxshadows before Campbell was ultimately asked to join Rogue band and Spider Lilies was put on hold until 2003. After about two years the band really got rolling with their 2005 three-track EP (a release I was fortunate enough to hear) and 2006 debut album, In The Light (the same year the band added guitarist/co-songwriter William Smith, also) . Though the early material was really solid with a great tone and atmosphere, this 2009 sophomore album is for sure the band's strongest release yet. Cyclogenesis marks the band's move towards more "club-friendly" music but without sacrificing any artistic credibility as the songs retain a great poetic quality to them with interesting subject matter that combines that great epic imagery of the aforementioned Cruxshadows with a real strong sense of spirituality. In getting towards that danceable atmosphere it seems like Campbell and Smith really tapped an 80's sensibility with elements of Animotion, Siouxsie & The Banshees, and Dead Can Dance. Its also nice to see Campbell and Smith show off their musical talents covering the vast majority of the performing on the album with contributions on the track "Mirror In The Dark" (perhaps the most touching song on the album) by live keyboardist Connor Clay and violin work by former Cruxshadows band-mate Rachel McDonnell. One of my favorite things about the album is the strong presence of guitars throughout (something that shouldn't be surprising given that both Campbell and Smith are accomplished guitarists), that has been sorely lacking on a lot of electronic-based bands in the last ten years. This album was clearly put together with such care and thought that listeners should make the same effort when playing this album. Favorite Tracks: Pay, Surgery, Metaphor, Mirror In The Dark, and Soft Green Eyes

Album a Day: Mélanie Pain - My Name

2010-08-02T11:57:00.000-07:00

Born in Caen, France, Mélanie Pain first came to the attention of American audiences for her work in the musical collective known as Nouvelle Vague (known for their bossa nova-style covers of punk, post-punk, modern rock, new wave, and goth songs) as a featured vocalists on some of my favorite songs like Echo & The Bunnymen's "Killing Moon", the Buzzcocks' "Ever Fallen In Love", and Lords of The New Church's "Dance With Me" amongst others. Mélanie Pain is probably my favorite vocalist in Nouvelle Vague (and there are so many talents to choose from) with her sweet, coy style that like the woman you want to marry is sexy because its beautiful, something that can be heavily seen when Pain plays live with the rest of the lineup. All of this alluring charm is put center-stage in her 2009 debut solo album My Name and highlighted by this collection of original songs. The eleven to fourteen tracks (depending on which release you get) put together by a few people including music largely by Benoît De Villeneuve with contributions by 1973 and Nouvelle Vague-contributor Phoebe Killdeer, lyrics by Pain and Pap Deziel, guest vocals by Norwegian sensation Thomas Dybdahl and Julien Doré, executive producing by Marc Collin (one of the geniuses behind Nouvelle Vague), and a slew of musicians playing various instruments throughout the album. As complex as all that sounds there's a very simple nature to the album that can really steer the whole things by its emotions which really allows the listener to get lost in the music. I think it was a smart choice for Pain to sing in both English and French as people expect the french given her background but an American audience obviously identifies much closer with songs in English so there are plenty of chances for radio friendly singles like "Everything I Know" and the cover of Harry Nilsson's "Little Cowboy". In keeping with Pain's Nouvelle Vague roots (Pain being one of the singers that was little known before her Nouvelle Vague days) Little Cowboy isn't the only cover as the extended version of the album also contains a really great cover of Blur's "Girls and Boys". For me a lot of the songs evoke thoughts of various film styles like the obvious French New Wave but also a song like "Helsinki" almost makes me think of a Spaghetti Western. There are a few odd discrepancies between releases as one version of the album only contains eleven tracks while other releases (including the itunes version) list thirteen or fourteen with the additions of "Girls and Boys", "Sans L'Ombre De Toi", a really cool demo track titled "Prendre Le Jour" and the song "Adieu Mon Amour" is titled on later releases as "L'Espace D'Un Instant". Translated the original title is Goodbye My Love whereas the 2nd title means The Space of a Moment, which I just think is a better name for a song anyway. Despite any confusion, I love this release because there's a great mix of indie-pop, folk, neo-classical, and a bit of 60's French Pop. The album supplies a range of emotions, Pain's vocals are beautiful, the version I have of the CD comes in a really nice thing digipak with a beautiful drawing of Pain as the cover art (the later releases feature an ok head-shot-esque picture of Pain), good covers, great originals, catchy hooks, basically everything you could want from a debut. Favorite Tracks: My Name, Celle De Vingt Ans, Everything I Know, Helsinki, La Cigarette, Adieu Mon Amour (or L'Espace D'Un Instant if you prefer), Girls And Boys, and Prendre le jour (Démo)

Album a Day: Endanger - Motion

2010-08-01T21:29:00.000-07:00

The late 90's/early 2000's were sort of a game changer for the role of synthpop in the American Goth/Industrial scene as things started to turn from the popular industrial rock from just a few years prior and many of the European synthpop bands that had been popular for years began to pop up on more DJ's playlists. One of the top albums in the lead of that charge was the 1999 debut release Motion from Germany's Endager. This is a really great album that seems heavily Depeche Mode inspired in that there are strong elements of darkwave and industrial worked into fairly straight-forward synthpop. Just a few years later there would be a slew of bands leaning more on the trance side of synthpop and so its great to look back and find something a little darker and a little edgier while still maintaining a fun quality. A lot of this can be contributed to the strong collaboration between progammer Marc Pollman and vocalist Rouven Walterowicz who both worked on the writing and producing of the album and whose individual contributions compliment one another very well. Pollman's synth-work has a really nice pace to it and while a vast majority of the time there is a dance quality that never comes across as the objective of the music but rather a bi-product. Pollman also does a great job of using the popular device of movie/television samples in a sparing but effective way as is displayed in the songs Erotic (where there's a great sample that sounds like its from a 1950's instructional film repeating the phrase "For the erotic pleasures of women") and Floating Higher which happens to use the same sample as Fictional's Your Dream from the album Fictitious which was also released in 1999. The construction of the songs are really enhanced by Walterowicz's vocals which I wouldn't say are the best vocals I've ever heard but are generally engaging in an odd sort of way. The lyrical content is surprisingly strong considering how many German bands that sing in English often fail in this department (as is pointed out by one of my favorite Gothsicles songs entitled "English License") but with Endanger there's a complexity to even simple love songs that I really appreciate and then to top things off the band gives one song in German towards the end that reminds me of Melotron (a contemporary of Endanger that first found success around the same time). I particularly love the songs Integrity and the aforementioned Erotic, both of which are great club tracks and very catchy. My favorite thing about this album is that even though it's just over a decade since its initial release there's nothing dated about it. Overall this is a really solid album and worth checking out if you missed it the first time. Favorite Tracks: Inside, Erotic, Story Of, Integrity, Silkskin, Tempture Me, and Die Quelle Meiner Kraft

Album a Day (EP Edition): Emilie Autumn - Girls Just Wanna Have Fun & Bohemian Rhapsody Double Feature EP

2010-07-29T11:23:00.000-07:00

No slam on Lady Gaga, but those in the Goth/Industrial scene know that what Gaga is doing is basically what artists in their realm have been doing for years. In fact, I'd say the "real" Lady Gaga is someone closer to the scene's own Emilie Autumn who has been pushing the boundaries for years and displays the level of talent that Gaga showed on Saturday Night Live (when she turned off the techno and just sang with a piano) on a constant basis. This isn't to say I'd like to compare Emilie Autumn to Lady Gaga as I think it should be the other way around since Autumn is certainly the more talented of the two. Emilie Autumn was labeled a prodigy at age 9 and left music school at 14 because of disagreements with the school over her non-traditional ways, showing her early penchant for rule-breaking that is displayed on this wonderful EP. Normally an established artist like Autumn might release a cover as a b-side or the main track on a single but with a few original tracks. While there are a few originals here (and good ones at that), Autumn puts two covers at the forefront of the disc with Cyndi Lauper's Girls Just Wanna Have Fun and Queen's Bohemian Rhapsody, and just for kicks there's also a third cover in the form a live version of The Smiths' Asleep. Both of the main cover songs on the album are really good and I love the bold choice that Autumn makes by covering two songs that are not only popular but so closely associated with the artists that originally played them that ot only can it be risky to attempt but in the case of Queen's Bohemian Rhapsody just technically challenging to play. Though Bohemian Rhapsody is the more difficult of the two, Autumn really shows off her vocal skills when belting out the main chorus of Girls Just Wanna Have Fun. You do begin to wonder why the choice of these covers. I think in the case of Girls Just Wanna Have fun it makes plenty of sense given Autumn's love affair with music and just wanting to be able to do it on her own terms. I suppose you could also point to Bohemian Rhapsody for the similar qualities that Autumn likes in her own music including classical elements, lyrical showmanship, etc but I think there's also something in the lyrical content that drew Autumn in (perhaps something worth exploring in a future interview were that to happen). In addition to the original cover of the Lauper classic there are four remixes with the standouts being the Asylum Remix by Inkydust and the Teatime Remix by Autumn herself. Both versions give the song more of traditional club feel which can be nice just for throwing down if you're DJing. Both versions are good but I lean more towards the Autumn remix because of the great snare drum about two-thirds of the way through the song. I'm not a huge fan of the live Smiths cover just because its so short that don't really have time to get in to it but I think it serves well as an intro to the live original song, Mad Girl, that follows it. These two tracks probably should have been one similar to the Suffer The Little Children/Hell Is For Children medley from Pat Benatar's "Live on Earth" album. The other original song on the album, Gentleman Aren't Nice, is a really great quintessential cabaret song from Autumn and is a nice counter-point to girls just wanting to have fun (a good note to end on). Favorite Tracks: Girls Just Wanna Have Fun, Bohemian Rhapsody, Mad Girl (Live), Girls Just Wanna Have Fun (Teatime Remix by EA), Girls Just Wanna Have Fun (Asylum Remix by Inkydust), and Gentlemen Aren't Nice

Album a Day: Shiv-R - Hold My Hand

2010-07-27T18:42:00.001-07:00

Certain countries are better at particular kinds of music than others. Typically one would associate Industrial with The United States, Canada, or Germany (though it should be noted there is some kick-ass industrial in Japan as well) so I was quite surprised when I was sent a few CDs from Australia back in 2003. At first the only releases I saw were from a small label by the name of Ground-Under Productions. I was really surprised when I heard that these bands sounded similar to several bands that were more popular in the states. A band by the name of Resurrection Eve sounded a lot like a VNV Nation or Assemblage 23 whereas another band, Stark, sounded reminiscent of Rudy Ratzinger's Wumpscut. In time I stopped hearing from GUP and I was afraid I couldn't get my Australia Dark-Electro fix. Eventually I was contacted by another label, Crash Frequency when they put our their first release, Australian Independent Electro Vol. 1. This compilation featured some familiar bands like the aforementioned Resurrection Eve and darkwave pioneers Ikon alongside some really cool bands I had never heard of like Tankt, Angelspit, Angel Theory, and The Crystalline Effect. Continuing the trend of Australian-dopplegangers, The Crystalline Effect sounded a lot like a more manic version of Collide. Cut to 2010 where the American Industrial scene is just beginning to catch-up with yours truly as Angelspit has become a club staple and now Metropolis has released the debut collaborative album, Hold My Hand, between Stark's Lee Bulig and The Crystalline Effect's Pete Crane together as Shiv-R. Though the two have aided each other for the better part of a decade, this follow-up to their 2008 EP Parasite is the first full-length collaboration between two of Australia's veteran underground musicians. Though as important as these men have been to Australia, the album was constructed with Crane in London, England and Bulig working out of Bangkok, Thailand, which certainly speaks volumes about the creative process in relation to technology in 2010 and also puts an interesting twist on the inspiration behind the work. This album is a really solid effort that displays both artists' talents while maintaining a cohesive new sound that is basically what you would expect from both of these men. The disc moves well and my only critique is that I found the tracks without vocals (mostly found in the middle of the album) slightly less interesting than those with, but even then I still thought all of the tracks had club appeal as well as just enjoyable to listen to (if you find electro-industrial fun to listen to like I do). The real stand-out track is Blood Spatter which I could easily see the Combichrist-crowd falling in love with. I also love the photographic-booklet-artwork by Matthew Burgess that should be appreciated by any fetish-enthusiast. Favorite Tracks: Buried, The End (Pt. 1), Corruption, Blood Splatter, Taste, and Open My Vein

Album a Day (Digital/Solo Edition): Amanda Palmer - Do You Swear To Tell The Truth The Whole Truth And Nothing But The Truth So Help Your Black Ass

2010-07-27T13:23:00.000-07:00

Goodbyes are difficult, and often times certain relationships just don't want to end in spite of the fact that its obvious to everyone that at least one side stopped trying a long time ago. Of course I'm speaking about Amanda Palmer relationship with Roadrunner Records. Originally Palmer's band The Dresden Dolls and Roadrunner had a good relationship which Palmer details in a letter written to the label just after her release in April, but Palmer goes on to explain that things when sour around 2006 with the released of their second album, Yes, Virginia..., which was given very little support by a label that once helped pay for significant promotion, international touring, and helped transition The Dresden Dolls from a local Boston act to something far bigger. Go ahead, ask a friend if they know who The Dresden Dolls are and they'll tell you they've at least heard of them. Well when your label stops promoting you and tells you to please hide your belly because its unpleasant to look at (which Roadrunner allegedly did in response to Amanda Palmer's music video for Leeds United, prompting an online uprising by the AFP-fanbase) that might be a cause for wanting to end that relationship, something that took two years to accomplish. In celebration of her release in April, Palmer digitally released the song Do You Swear To Tell The Truth The Whole Truth And Nothing But The Truth So Help Your Black Ass to her fans via her website for free (though asking for any donations in appreciation). This song is a little bit more of a stripped down version of Palmer's other work given the fast nature in which it was conceived, being written months earlier but only played for significant other Neil Gaiman and friend Tom Dickins before being recorded in about five hours with the help of Evelyn Evelyn band-mate Jason Webley on guitar, trombonist Sam Kulik (who just happened to be visiting his family in New York and called Palmer that morning with the intentions of a simple get-together), and of course Amanda Palmer pulling triple duty with vocals, piano, and the ukulele (a precursor to the Evelyn Evelyn material and Palmer's new EP Amanda Palmer Performs The Popular Hits of Radiohead On Her Magical Ukulele, soon to be reviewed here). I love the stripped down nature of this song as it reminds me of the VH1 Storytellers series, especially given the very narrative quality to Palmer's work and heavy in this near six minute song. Webley and Kulik's contributions help bring another level of legitimacy to this release. I love the lyrical content of the song including the title (said by Palmer during a live show to be inspired by and NWA lyric which then inspired Palmer to perform NWA's Fuck Tha Police). My favorite line in the song would probably be "I like being alone around people", though I'm also keen to Palmer's verse in which she describes being a blow-job queen and how everybody enjoys a blow-job. The whole song just gets at the point that Palmer is going to do what she wants and sucks for anybody that thinks otherwise. Favorite Tracks: Seriously? It's the only fucking one! By the way, you can still download it and read all about the reason for the release here

Album a Day (Soundtrack Edition): The Crow Soundtrack

2010-07-26T12:56:00.000-07:00

If you're not familiar with this soundtrack then there is zero chance you were paying attention in the mid-90's. For many The Crow was their favorite film (and if you think this is just simply a cult movie then I challenge you to go back, check out some of the better performances, look at the cinematography, just see the production design and then tell me its just a cheesy movie) and part of what spoke to a large number of people was the soundtrack. Often times with these compilation soundtracks what makes them good is that you're calling attention to a particular genre and putting it in the mainstream where it wasn't before, i.e. with Hackers you had all sorts of electronica, Mortal Kombat was mostly industrial, SLC Punk should be obvious to anybody. The previously mentioned soundtracks are great, but the difference with The Crow was that it was more about the vibe than the genre. There was clearly a lot of attention to detail when it came to what songs would fit this film in spirit not just in catering to a particular audience. The end result is mostly dark as should be expected but you get a mix of metal, rap metal, hard rock, industrial, modern rock, and shoegaze, which serves to create a narrative throughout the album. My point being here that often times with compilations its almost impossible to discuss the disc in terms of flow, movement, etc., but the diverse nature and hard work put in to it makes that much more doable. I love the way this soundtrack starts off with The Cure's Burn (specifically re-written for the movie) the song was easily the theme song for the film, which is completely fitting given that the comic book's creator James O'Barr was an avid Cure fan, even going so far as to reprint the lyrics to The Hanging Garden on a full page of one of The Crow comics (something worth picking up and checking out by the way). This is one of my top Cure songs (probably my favorite to dance to) and its so odd because the song has a fairly different vibe than any other Cure songs and part of its appeal is centered in its unique quality. After the initial Cure song the soundtrack moves into one of the more underrated bands of the 90's, Machines of Loving Grace with Golgotha Tenement Blues, just a great industrial rock song. Machines of Loving Grace actually might be one of the more diverse bands on the album themselves as you get this great mixture of most of the other elements in the band and especially this song. This also helps with the transition to the next several tracks which are a bit harder including perhaps the most mainstream song on the album, Stone Temple Pilot's Big Empty, and the most popular song on the album Nine Inch Nail's cover of Joy Division's Dead Souls. Big Empty of course would go on to become one of the bands most popular singles and would eventually be released as both a single and on the album Purple, however it's first release would come on this soundtrack. Nine Inch Nails version of Dead Souls would become so popular that many began to think that Reznor was responsible for the writing of the song (interesting that this would happen to Reznor just short of a decade later when Johnny Cash covered the Nine Inch Nails song Hurt). In a way I wish that the Joy Division version was on the album because of O'Barr's similar affinity to Joy Division that he had for The Cure, often titling chapters after Joy Division songs. However, Reznor's version of this song is just so good and this is one of only a few Joy Division covers that really had stood out as being just as good as the original (and one of the few covers that isn't of Love Will Tear Us Apart). The cover also has such a great placement in the film and would be one of several covers on the CD in addition to Pantera's cover of The Badge originally by American Hardcore Punk band Poison Idea and Rollins Band's cover of Ghost Rider by Suicide. In regards to Ghost Rider, there's something very on the nose about including a song about another comic book hero (and almost feels like wearing white after Labor Day) but its such a solid cover and if you're going to pick a song about another "super hero" then I'd say Ghost Rider is it. Its also amazing with the bands mentioned you still get on top of that Helmet, Rage Against The Machine, and Violent Femmes who would become three of the more legendary bands in the mainstream consciousness. However, the rest of my favorite songs on the album would come from bands that gained more success in their respective underground scenes like My Life With The Thrill Kill Kult, Medicine, and Jane Siberry, who all played significant roles in the film with both TKK and Medicine appearing separately but each on stage in the warehouse/club that was part of Top Dollar's headquarters, and Jane Siberry's It Can't Rain All The Time would start as the song by Eric Draven (The Crow)'s fictional band that winds up playing on repeat as Sarah listens to it on vinyl only for Eric to appear out of nowhere. This is a great soundtrack that was well put together, thought out, and with a lot of care. Favorite Tracks: The Cure - Burn, Machines of Loving Grace - Golgotha Tenement Blues, Stone Temple Pilots - Big Empty, Nine Inch Nails - Dead Souls, Rollins Band - Ghost Rider, Helmet - Milktoast, My Life with The Thrill Kill Kult - After The Flesh, Medicine - Time Baby III, and Jane Siberry - It Can't Rain All The Time

Album a Day: Ahab Rex - Blood On Blonde

2010-07-23T00:42:00.000-07:00

I think Martin Atkins and I might agree that Ahab Rex is one of the most underrated musical projects going today. My proof is that I merely listened to this release, the Queen of Softcore EP, and a few tracks on various compilations, whereas Mr. Atkins contributed drums on the two of the best songs on the album, Ordinary Things and The Queen of Softcore. Atkins Pigface-co-conspirators Chris Connelly and Steven Seibold also lent their musical talents with Connelly providing guest vocals on Ordinary Things and Seibold aiding Martin Atkins in a Pigface remix of To Whom It May Concern. This 2006 album is essentially Ahab Rex's re-debut as Blood On Blonde is mostly a reworking of 2004's Rollin With The Ahab Rex Quintet with the addition of several songs including the Atkin's aided ones. But whether you consider this album to be a debut or sophomore album for the band, this is one of the strongest efforts I've heard in years and really takes some risks. Ahab Rex's vocalist of the same name has these bold industrial-style vocals strongly comparable to Snog's David Thrussell mixed with a blend of various indie rock styles with a multitude of instruments. There's a lot of great stuff on this album with Rex's dramatic vocals that often are more spoken word than sung but the result is something close to poetry. Whatever Rex's singing lacks in harmony is more than made up for by vocalist Brooke Cassell who is featured on five of the ten album tracks on the CD. As much as all the vocals can take center stage, the music on the album is absolutely well put together for something that at times give that great dirty rock feel on a song like Undertow No. 5 and other times feels closer to a Tom Waits on a track like Dope Sick. All the lyrical content is also just really great, very minimal like the music but well constructed, catchy, and original like listening to Joy Division for the first time. I almost hate to compare so many aspects of the album to other musicians but I think all the influences are readily at the forefront with elements of Tom Waits, T-Rex, Snog, Pigface, PiL, and I'm sure the list goes on. Everything about the album itself is well put together as well with a strong opening with the Atkins-assisted tracks including the single, The Queen of Softcore which is just such an absolutely smooth-fucking song that makes you want to DJ at some sort of noir bar (I actually think the whole album has sort of a noir feel to it) and continues with a range of different sounds that keep the listener wanting more from start to finish and showing a great flow and then concluding with the title track, two remixes (one by Pigface and another by Assassains of Ordinary Things, and a non-music track that normally one would find at the beginning of an album but is much more conscientiously placed at the end. The album is also well-produced by Ahab Rex and mastered by Collin Jordan who has mastered albums for Grim Faeries, Chris Connelly, Nocturne, Pigface, and My Life with The Thrill Kill Kult amongst others. The album artwork by chicago illustrator Yunicorn is also just so fitting for the album as you have a real fusion of industrial and indie rock that perfectly suits the band. I beg you to please check out this album and if you're first to get this far and live in the Greater Los Angeles area I have one copy to give away if you want it. Favorite Tracks: Ordinary Things, The Queen of Softcore, Thank You Mister Russia (An Alcoholic Love Story), To Whom It May Concern, Dope Sick, and To Whom It May Concern (Pigface Remix)

Album a Day (Film Edition): Ondi Timoner - DiG!

2010-07-21T23:27:00.000-07:00

Ondi Timoner's 2004 documentary DiG! is a tale of two bands: the first being a fairly well-adjusted band in the form of The Dandy Warhols who rose to modest prominence in the mid 90's with an album released on Capitol Records before falling to the more-often-than-not-inevitable hatchet job by their label when the first single from their first album on Capitol failed to meet ridiculous expectations. The band then garnered more success on their own in 2000 with the college-radio hit "Bohemian Like You". If DiG! were about The Dandy Warhols I would say this movie would at best be your typical band-released bio DVD. Fortunately the flip-side of the coin would be a much more interesting story with The Dandy Warhol's frienemy band, The Brian Jonestown Massacre, a much more chaotic but infinitely more talented band led by Anton Newcombe. This is a great documentary and so it should come as no surprise when it won the Documentary Grand Jury Prize at Sundance in 2004. The film follows around both bands over seven years garnering a vast sea of footage (reportedly between 1500 and 2000 hours depending on who you talk to). The immense amount of footage is one of the bigger aspects of what makes this documentary so great as Timoner never has the need to reference any kind of stock footage and any talking head moments are immediately accompanied by some sort of supporting footage and for the most part the footage tells the story itself. Newcombe has come out as saying that the film is unfair but in spite of Dandy Warhol's leader Courtney Taylor-Taylor's narrative possibly skewing the film, the impression that I get is that you have one band that has basically had the same career as many other bands. If you can pay the bills being in a band then that's great, but I never get the impression that The Dandy Warhols are anything special, and often certain members come off like arrogant pricks (with the exception of Taylor-Taylor who is certainly self-confident but he repeatedly praises The BJM and Newcombe, though who knows how much of this perception is in the editing). Newcombe comes off in the film as eccentric but prolific. Perhaps Newcombe is right that the film portrays The Brian Jonestown Massacre as ending or that The Dandy Warhols are somehow more successful despite Newcombe being the more talented one, but that to me is just the drama of filmmaking (one we would hope gets left out of documentary filmmaking, but a narrative is a narrative even if its real). Generally I think documentary film watchers will go the extra mile to do the research on their own and if they like the music of The Brian Jonestown Massacre (and how can you not at least be intrigued by the way the band is portrayed in this film) then they will discover the music for years to come. I hope at some point Ondi Timoner decides to create another epilogue to this film since there is more of a story to tell, especially with the recent return after an eleven year absence by Matt Hollywood. I love all the aspects of this film though as its really well cut together, compelling, and I love the dirty quality of the footage from various cheap video cameras with some film rolled in as well. The mixed media of the doc gives the whole thing more of a music feel and only adds to the aura of the events. My favorite moments from the film also come from the interview segments with Genesis P-Orridge of Psychic TV, especially when discussing the way mainstream music labels destroy music. Interestingly that becomes a compelling b-story of the film. There is probably enough footage here to make a compelling argument for another documentary about the evils of the music industry. My other favorite moment comes when both bands are reaching a certain level of success and while The Dandy Warhols are partying with photographer David LaChapelle, The Brian Jonestown Massacre are partying with actor Harry Dean Stanton (the lead of one my favorite films, Paris, Texas). However you feel about those images would probably mirror how you feel about each band respectively. Whether you are a fan of either of these bands or not I highly recommend watching DiG!

Album a Day (Single Edition): Icon of Coil - Android

2010-07-21T10:54:00.000-07:00

In general I'm not a big fan of singles for a few reasons: First off, they often take up almost as much if not just as much (I have yet to see more) room as regular CDs with only one to four songs (more than four and you've got an EP on your hands). They also usually include some b-side that if you're a die-hard fan you have to have and singles usually have a much more limited pressing life so the disc can become rare so having that one song can get expensive unless it gets released on some sort of b-sides or rarities collection at which point you're pissed that you spent the time tracking it down. There's also the price. If you are a fan of imports like I am then you can wind up spending as much for a single as you would a regular album from the States. Now, a lot of this is solved in the digital age and we're already seeing fewer singles get released physically (unless as bonus-tracks on an album). The thing is that the rarity of that single is often what makes a b-side or remix on it so hot, especially if the song has club value. This was certainly the case with Icon of Coil's Android single. In the early 2000's Icon of Coil was one of the top two or three most popular EBM bands even pushing on the doors of mainstream consciousnesses with their 2002 release The Soul is in The Software which featured the popular goth/industrial club songs Access And Amplify and Other Half of Me. By 2003 their fanbase was craving new material and so the band released the precursor to what would become their third and final album (at least for now) Machines Are Us (great album). While Machines Are Us would wind up having the familiar Icon of Coil sound, the single Android told a different story, perhaps one more indicative of the direction the individual members of the band would take. The title track is a much more aggro and sounded closer to vocalist Andy LaPlegua's new project Combichrist (which has now become just as popular as Icon of Coil was). It's also interesting to see the two remixes of the song on the album are from LePlegua's Combichrist (though I'd actually say the Combichrist remix makes it sound less Combichrist-like bizarrely enough) and main-Icon of Coil-programmer Sebastian R. Komor's Moonitor. The two remixes are decent but what really makes the single worth it is that b-side I talked about earlier, a cover of Front 242's Headhunter. For anyone that was going to Goth/Industrial clubs in the late 80's early 90's they will remember the popularity of this song and then again in the late 90's when the band re-recorded the song and released it in 1999 with a slew of remixes. Generally when people make lists of club anthems in the goth/industrial scene this song will make everybody's list so you can venture the guess that there have been a number of covers of the song, however none quite so successful as this one. IOC does such a great job respecting what the song means and then finding subtle ways of reinterpreting it that makes for a great cover and a rejuvenated club track. This is also so interesting in Icon of Coil's discography because this to date was their first and only cover. I guess my point in all this is that if you're going to do a single then using Icon of Coil's model is probably a good one: A song from an upcoming album that will create intrigue, a rare b-side (maybe a cover), and a couple of remixes (and using those remixes to promote your other projects since you're not sticking with this one is probably a good idea as well). Favorite Tracks: Android, Headhunter, and Android (Mix by Combichrist)

Album a Day: Celldweller - Celldweller

2010-07-20T21:49:00.000-07:00

History has shown us time and again that new things are frightening. When my friend Kilean first played Celldweller I wasn't really sure what to think about the album, though I knew I had to hear more so I contacted the label and asked if they could send me a copy. As I listened to it more I started to find songs I could identify with but others still seemed odd. Then as time went by the odd songs began to grow on me as well. Change is good and Klayton, the mastermind behind Celldweller, is no stranger to change. Technically this self-titled 2003 release is the debut of the Celldweller act, this is not Klayton's first rodeo, having performed/fronted a number of projects under various aliases that might start to sound familiar including Circle of Dust, Argyle Park, and Angeldust (alongside illusionist Criss Angel). I absolutely love this album and this project may be the most mature work that Klayton has ever done. Both the initial sense of confusion and later love for the album is really rooted in the genre-blending that Klayton implements in his work. With mixes of metal, industrial, EBM, drum 'n bass, house, and trance, at first you would think would just not go well together but Klayton just has such a clear understanding of music and taste level that he knows what works well, when to push forward and when to step back. This level of musical aptitude goes even further as Klayton was able to involve a lot of experimentation and retain a lot of hooks that allows for the album to be so accessible to the general audience while enabling thought from the complexities of the album. There's also really nice contributions to the album by Jarrod Montague from Taproot lending his drumming skills on the track I Believe You and electronic artist Fluffy Starr adding vocals to Frozen, The Stars of Orion, and Welcome To The End. I think the first half of the album is the catchier part with tracks like the very catchy Switchback, which later became a single with a music video. Klayton has said that there were about 50 demos for Switchback (two of my favorites being included the Beta Cessions, a two-disc compilation of early versions and instrumentals from this album) and all the hard work really shows in the finished product. The first half of the album also includes some highlights like Stay With Me (Unlikely), Under My Feet, and Afraid This Time, but I think the real gems are the two longer tracks (both coming in at over seven minutes) The Last Firstborn and Frozen. The Last Firstborn is really what I was talking about earlier when it comes to experimentation on this disc as the song moves back and forth between metal driven industrial and a mix of drum 'n bass and Goa style trance. Again, this would seem to be too much to handle there's something about it that just works. Frozen is a little bit more traditional but might be the underrated club track of the album just on its pure raw energy and emotion alone. One of my favorite aspects about the album does come in the latter half where Klayton demonstrates a technique implemented on Circle of Dust's Disengaged wherein Klayton takes songs from earlier in the album and reconfigures them in a way that I wouldn't quite calling remixing but rather re-imagining. Here it is with the song Stay With Me (Unlikely) which he turns inside out for the track later in the album entitled Unlikely (Stay With Me). The result isn't one of my favorite songs but still interesting nonetheless. Overall I think this is just a really solid album that has a great flow that is as good whole as it is separate and has spawned several remix CDs, a collection of early versions and instrumentals, and a number of online remix contests (and most of this additional material is certainly worth exploring). Favorite Tracks: Switchback, Stay With Me (Unlikely), The Last Firstborn, Under My Feet, Frozen, Afraid This Time, and So Sorry To Say

Album a Day (Boxset Edition): Various Artists - Century Media Records 10th Annivesary Box Set

2010-07-20T00:25:00.000-07:00

In 2001 Century Media Records, home to some of the most diverse and prolific metal bands around the world, released a three-disc box set in honor of the labels ten year anniversary (though this is really the 10 year anniversary of their foray into the States as the label actually started in Germany three years prior, but let's think of it like a wedding anniversary). I thought that since we were only about six months away from the twenty year anniversary that this might be a good time to discuss this release (a bit of a teaser if you will). First of all, I can't begin to say enough good things about Century Media Records as they not only put out some many amazing and forward-thinking metal bands in a variety of metal sub-genres but also I just always had nice personal dealings with them when I was doing my Goth/Industrial college radio show, The Last Exit, back in Ithaca, NY in the early-mid 2000's (the years just after this release actually). I remember when Lacuna Coil was really just taking off in the states and touring with Type O Negative. I asked a contact of mine at the label if we could make an interview happen at The Palladium in Worcester, MA and they were very helpful with the hook-up (this would go one to be one of the bigger venues I would interview in) and I was able to share 30 minutes with the beautiful Cristina Scabbia thanks to the good folks at Century Media. I love label box set's because you know the hard work that goes into a release like this. The compilation has to really represent something that the people putting it together, the founders, the bands, the past and present staff, and especially the fans are going to feel represents each of their individual interests and come out as accurate. In addition, when you're still an active label then you are going to have to live with this release for a long time. To this end I think that this compilation is really successful. I love the division of the first two discs between Western and Eastern Hemisphere because this gives the perception that CMR is really a global metal label which is true for the most part, although most of the bands are from either Anglo-America (The US and Canada) or Europe (though their bands certainly do tour worldwide). The division between the discs makes for an interesting study because you can try to understand the differences amongst metal bands on that global scale between the two metal superpowers. The first two discs really show off the diversity of metal that has been on the label (including some sub-genres I've never even heard of) covering hardcore, noisecore, mathcore, sludge metal, power metal, extreme metal, rap metal, technical metal, groove metal, death metal, metalcore, progressive metal, heavy metal, industrial metal, goth metal, doom metal, crossover thrash, and honestly the list goes on. Now this may seem funny to anyone that takes part in a particular scene knows all the sub-genres that come with it (I certainly do from my years in the aforementioned Goth/Industrial scene) but I think that also speaks volumes about Century Media Records open-mindedness to good metal. Included with the release is a beautiful 90 page booklet that includes stories by several bands that have been on the label and more often than not the stories include, "When no label wanted to sign a band that made (insert your metal genre) Century Media listened to our sound and were excited to sign us." and the vast majority of those bands have gone on to garner a great amount of success. In fact, the second disc of all the Euro bands clearly illustrates how Century Media got behind female-fronted metal bands such as Lacuna Coil and The Gathering long before any one else. The first disc is filled with great American metal that makes you want to head-bang with the red, white and blue but the second disc may be closer to my heart as I've always had an affinity for European metal bands like the previously mentioned Lacuna Coil and The Gathering in addition to Nocturnal Rites, Moonspell, and Tiamat amongst others. The funny thing you begin to notice when looking back and forth between those two discs is that there are more bands of certain genres than you thought from those given areas. Like I would have thought all the power and fantasy metal would be on the Eastern Hemisphere disc but then you have North American bands like Seattle's Nevermore, Colorado Spring's deceptively European-sounding Jag Panzer, and Tampa's Iced Earth. Conversely I thought the majority of death and industrial metal would come from the US but Germany's Morgoth covers both of those genres in addition to The Netherland's Asphyx, and Rotting Christ, which really verged more on grindcore in their earlier days. So you would think when listening to the two discs that you'd get this very different sound that's distinct for each part of the overall compilation but there's a lot of diversity all over and I think that is really what represents this label. This release also just features some of my favorite bands including Shadows Fall, Strapping Young Lad, Lacuna Coil, Arch Enemy, Iced Earth, Eyehategod, The Gathering, and Moonspell but introduced me to some bands I wasn't really familiar with but would like to check out more of like Sentenced, Nocturnal Rites, Borknagar, and Jag Panzer. I think that's really representational of what is good about this release and that is that if you are a fan of these bands then this is a great release with a lot of nostalgia. If you don't know these bands or this label then this is a great starter pack to get introduced to a variety of metal genres and bands so you can figure out what and who you might like. This is also shown between the first two discs which are a compilation of songs from various label releases between 1991 and 2001 which is great if you're not a metal head and don't own most these releases. But if you do happen to be a complete metal junkie then you're treated with the third disc of Rare and Unreleased recordings including a track by label founder Robert Kampf's band Despair. I'm glad that this disc wasn't just padded with live recordings (in fact the only live recording is a really good one of Iced Earth's Colors). The other great thing for old fan and new fan alike is the 90 page booklet with stories from the bands about the label and just their own experiences, an interview with Robert Kampf, more stories from a few past and present staff members, and the discography of all the releases up until this compilation. I also just really appreciate the first story by Stuck Mojo which discusses their relationship with Pro Wrestling (of which any of my readers knows that I am a big fan) which anyone that was watching WCW back in the late 90's remembers the Diamond Dallas Page vs. Raven and The Flock music video that the band did. This is accompanied by a great picture of the band holding DDP's various title belts. The packaging is just beautiful with pictures of the bands and Century Media staff all over the booklet which itself has gorgeous artwork of the ocean and old-world maps all bound in an understated black box with "Century Media 10 Year Anniversary" and a big X in silver on the cover. Normally I would be skeptical of a release limited to 10,000 copies worldwide but when Century Media (perhaps the biggest label in metal) says there are only 10,000 copies then I feel like owning one is a big deal (even if I did get my copy used for four dollars) so if you can get a copy then I suggest you do (even if you have to spend more than four dollars). Favorite Tracks: Disc 1 (Western Hemisphere): Demolition Hammer - .44 Caliber Brain Surgery, EyeHateGod - Sister Fucker (Part 1), Merauder - Master Killer, Only Living Witness - No Eden, Iced Earth - The Hunter, Strapping Young Lad - Oh My Fucking God, Jag Panzer - Black, Turmoil - Playing Dead, Shadows Fall - Of One Blood, Nevermore - The River Dragon Has Come, God Forbid - Broken Promise. Disc 2 (Eastern Hemisphere): Morgoth - White Gallery, Samael - Flagellation, Tiamat - Whatever That Hurts, The Gathering - Strange Machines, Moonspell - Opium, Borknagar - Oceans Rise, Nocturnal Rites - Destiny Calls, Lacuna Coil - My Wings, Angel Dust - The One You Are. Disc 3 (Rare & Unreleased): Samael - Manitou, Stuck Mojo - Fuckin-4-$$$, Nevermore - System's Failing, Moonspell - Ataegina, The Gathering - Adrenaline, Morgoth - Indifferent, Sentenced - Digging The Grave, Nocturnal Rites - The Journey Through Time, and Tiamat - The Children of The Underworld

Album a Day: Gavin Friday - Shag Tobacco

2010-07-15T10:17:00.000-07:00

A classic album by a classy musician in the form of Gavin Friday (ex-Virgin Prunes). This third album by Dublin-born Friday would be his last for about seven years, instead shifting his focus to other artistic endeavors. I love this album as Friday's music oozes sexiness with a thin layer of filth just to cap the whole thing off. The whole album has a lounge feel to it and yet there's also a deep complexity to the work though in the end Friday is really just a romantic. And that isn't necessarily "romantic" in the "boy loves girl", "girl loves boy","girl loves girl", "boy loves boy", or "two boys love a girl and a dwarf" sense (though surely that is in there, except perhaps for the dwarf), but rather a romanticism for words, culture, art. The best example of this may be in the track Caruso which is a tribute to the Italian Opera singer Enrico Caruso. Friday is able to tap his purest of emotions and translate that into his music. For that reason it should come as no surprise that one of the songs on the album, Angel (not my favorite song, but a good tune) would be used on the soundtrack for Baz Luhrmann's film Romeo + Juliet. At times it feels like there's an effortless quality to the album that contributes to a relaxing atmosphere but again the complexity of themes that are in each song and also span the entire album are just great and then are mixed in with beautiful music that demonstrates Gavin Friday and contributor Maurice Seezer's diverse musical talents, as can be seen on several tracks in which Fridays sings through a megaphone that he calls the stronzophone. One of the highlights on the album for me is the cover of T-Rex's The Slider. The original version of The Slider is a usual affair you would expect from T-Rex (which even as popular as they are, they still remain one of the most underrated bands). Friday slows down the track just slightly giving it an almost creepy feel that really makes the skin crawl. In general Gavin Friday has a great understanding what to do with a cover as would later be demonstrated with his appearance in the Neil Jordan film Breakfast On Pluto where Friday portrayed glam-rocker Billy Hatchet playing a cover of Sweet's Wig-Wam Bam. In both instances Gavin Friday really makes the song his own while still paying tribute to the original. In addition to a certain level of seriousness there is also a great humour all over this album on songs like Mr. Pussy and Dolls. This 1995 album also shows why its so well worth having physical albums as the liner notes include the prose of Irish novelist Patrick McCabe. The story requires several reads and still doesn't make much sense but has beautiful imagery and manages to incorporate the titles of the songs from the album. This album can usually be found pretty cheap used so even if you're still skeptical then I recommend you spend the 5 dollars and give it a shot, I'm sure you won't regret it (or if you do then fuck you). Favorite Tracks: Shag Tobacco, Caruso, The Slider, Mr. Pussy, You Me and World War Three, and My Twentieth Century

Album a Day (Film Score Edition): Bernard Herrmann - Bernard Herrmann's Music From Alfred Hitchcock's "Vertigo"

2010-07-14T00:33:00.000-07:00

Certainly any film composer will list Bernard Herrmann as one of the greatest composers of all and no one could even be blamed for putting him at the top of that list for providing the world with the music to Ray Harryhausen's Jason and The Argonauts, François Truffaut's Fahrenheit 451, Brian De Palma's Obsession, Rod Serling's The Twilight Zone, Orson Welles' Citizen Kane, Martin Scorsese's Taxi Driver, and of course almost every Alfred Hitchcock film including my personal favorite (both for the film and the score) Vertigo. Bernard Herrmann's work is genius enough on his own but to me Herrmann's work always got pushed to its very limits by the macabre brilliance of Alfred Hitchcock. One of the most difficult elements about scoring a film like this is that there is a necessity in the story where things have to start in one style and really shift during the turning point of the film without seeming like two different scores. Herrmann's soundtrack allows for all of the emotional complexities of the film that Scottie goes through because of his condition (which is vertigo in case you had a hard time figuring that out), love, paranoia, obsession, etc. A complex film needs a complex score and Herrmann was clearly up to the challenge. What I love about this score the most is that it really captures the collaborative process of filmmaking because you have Hitchcock setting the tone with the story, which is really brought to life by James Stewart and Kim Novak and then enhanced to such a great degree Herrmann's score that shows his true understanding of what Hitchcock was going for. Of course this isn't a movie review, but rather a discussion about the soundtrack which is just such a delight to listen to even outside of the film, though the release I have only includes about half the original score. The score was first released in this 34 minute version that includes most of the major cues and was the only release available until 1995 when a version was re-recorded with Joel McNeely conducting the Royal Scottish National Orchestra and then in 1996 another version was released but this time of the master recordings which were not kept in the best of conditions. A third release came in 1999 with James Conlon conducting the Paris Opera Orchestra for the only ever recording of the full seventy-four and half minute score. I personally like the first copy the best because I'd rather listen to the original version of the score then a recorded one like the McNeely version (which isn't complete either) or the Conlon one (which is actually very rare to get a hold of anyway) and while I haven't heard the 1996 release (though I do plan to) the fidelity issues could be a problem. The tones are beautiful in this film and I can't even do justice to the analysis of the score in relationship to the rest of the sound design of the film as whole papers have been written on the subject but there are great little nuances such as the two-tone falling motif that imitates the fog horns at either side of the Golden Gate Bridge (a centerpiece of the film's San Francisco locale). If you love scores, film, or just beautiful music then you should pick this up as its inspiring to work to, great to chill out to, and is just highly emotional without being gratuitous. Favorite Tracks: Vertigo Prelude and Rooftop, Farewell and The Tower, and Love Music

Album a Day (EP Edition): Voltaire - Banned On Vulcan!

2010-07-13T00:11:00.000-07:00

Voltaire just makes me smile. New York artist/musician Voltaire has been making people smile for years in a scene filled with people that a lot of people mistakenly think don't want to smile, including many of those within the goth scene itself. Originally self-released as a rare EP mostly only available at live shows, Banned On Vulcan!'s four tracks all quickly became favorites of Voltaire's live audiences (and if you haven't seen Voltaire live then pick up his live CD and attempt to find out what you're missing) and so it was eventually released on Voltaire's label at the time, Projekt Records. If you haven't figured it out by now this EP is a tribute to the most popular sci-fi television franchise of all time, Star Trek, which produced five television series (six if you count the animated show that ran from 1973 to 1974) spanning 30 seasons plus eleven movies including the newly relaunched J.J. Abrams franchise that is bound to produce at least one sequel. I have to admit that I was a big Next Generation fan as a kid and also watched the first few seasons of Voyager so I have a geek love for this album on top of just being a big Voltaire fan. What makes this EP so good and Voltaire's music in general is really his attention to detail. Voltaire is one of the smartest men I have ever met (something that hopefully his students at The School of Visual Arts greatly appreciate) and so while it's obvious that he is an avid fan of Star Trek, he also wasn't simply satisfied at simple jokes that only a Trekkie would get. There are a lot of really intelligent and clever lyrics put into the twelve and half minutes of this EP. The mini-album starts off with such a bang with the song Worf's Revenge where Voltaire raps from the perspective of the Klingon Federation Officer Worf from Next Generation and later Deep Space 9 fame. Voltaire should rap more often because he does a great job on this track. I love when he says that never sweats a Romulan because he's just a limp-wristed Vulcan with a bad attitude. There's just this great infusion of Trek knowledge with gangsta-rap stereotypes like talking about his cock (his head isn't the only part of Worf that's got ridges) or "I hate the tribbles, those little furry shits...but I love my Klingon bitches because they got three tits". The second track, The USS Make Shit Up, is probably the best (though only my 2nd favorite) covering all of the ridiculous plot devices of each Star Trek series with the exception of Enterprise which wasn't out at the time of this EP (though Voltaire later rectifies this on his live CD with a bonus verse about the Scott Bakula prequel series). Not only does Voltaire sing here about all the ridiculous situations throughout Star Trek but also takes the opportunity to ponder questions like how the Klingons went from looking like Puerto Ricans dressed in gold lamay to heavy metal rockers from the dead with frizzy hair and lobsters on their heads (pointing out the addition of the more prominent ridges over time). The third song, The Sexy Data Tango, was not really a favorite of mine for a long time but there's just something about the idea of Data as a sexual being that one appreciates over time and Voltaire does such a great job once again taking the Star Trek theme but marrying it to a style like a tango that one would not necessarily think to blend but completely works. The last track, Screw The Okampa! (I Want To Go Home) is my favorite on the EP and one of my favorite Voltaire tracks period. This take on the classic West Indies Folk Song "The John B. Sails" made famous by The Beach Boys as "Sloop John B." take the perspective of one of the crew members of Voyager just wanting to get the fuck home playing off of the plot of Star Trek Voyager where the crew of USS Voyager led by Captain Kathryn Janeway (Kate Mulgrew) is stranded in the Delta Quandrant for seven years. Even if you're not a Star Trek fan this is still a great collections of songs that are fun, diverse, catchy, and perhaps will teach you something about one of the Mecca's of geekdom. It's also just always impressive what Voltaire can do with just an acoustic guitar and how fitting he looks as a Vulcan (Vulcan's are so goth because they are basically emotionally dead). Favorite Tracks (all of them): Worf's Revenge (The Klingon Rap), The U.S.S. Make Shit Up, The Sexy Data Tango, and Screw The Okampa! (I Want To Go Home)

Album a Day: Black Tape For a Blue Girl - 10 Neurotics

2010-07-11T17:17:00.000-07:00

Ten albums over twenty-three years, in addition to five EPs that generally contain at least some new material, is a lot of effort for one band, especially when you take into consideration a lot of that work falls on Sam Rosenthal who is also the head of Projekt Records (the premier label for all things ethereal and darkwave in addition to goth rock, dark cabaret, ambient, and neo-classical). Though Rosenthal's fingerprints are all over this album, he certainly wasn't alone as this alone may be the most star-studded for the band yet with a lineup including Brian Viglione (The Dresden Dolls), Laurie Read (Attrition), Athan Maroulis (Spahn Ranch), and one of my absolute favorite musicians in the form of the beautiful Nicki Jaine. The album also features great guest appearances by Lucas Lanthier (Cinema Strange), Black Tape alums Elysabeth Grant, Lisa Feuer, and Michael Laird, and the bandmate of Rosenthal and Jaine's other band Revue Noir, Gregor Kitzis who you may also know as the violinist for Voltaire. This is just a great album up and down and I think the new lineup in addition to the appearances by old band members has really helped rejuvenate the Black Tape project. I suspect the real muse here has been Nicki Jaine who ever since joining up with Rosenthal for the aforementioned Revue Noir has seemed to really light a creative spark under Rosenthal who hadn't released a new Black Tape album since 2004's Halo which was good but not nearly as strong as 10 Neurotics, perhaps relying more on old Black Tape sounds rather than pushing the envelope and continuing to grow like is so evident on this album. It also doesn't hurt that the songs featuring Jaine as the main vocalist pretty much feel like they could be straight from Jaine's discography (which if you haven't checked out then you are missing out on of the most talented musicians I have ever heard) but enhanced by Rosenthal's own music and production skills. I think Rosenthal's strength in this album is really recognizing the strengths of the musicians he's working with, collaborating, and adjusting the style to fit theirs while retaining his own trademark sound. I'd say one of the better examples of this would be the track The Pleasure In The Pain which features former Spahn Ranch member Athan Maroulis on vocals. The track really borders on the industrial sound that everyone is familiar with for Maroulis but the acoustic nature of the song leaves it in Rosenthal's realm. One of my favorite tracks on the album is The Perfect Pervert which reminds me a lot of two of my favorite films: The Image and Maitresse (both about the fetish world and S&M relationships) not just because of the S&M content but also about the relationship between the fetish world and the day to day world that inevitably sneaks in. In fact the whole album plays like a foreign film to me with a great mix of intelligent ideas, old world and new world sounds coming together and just stunning imagery next to funny little moments. There's a great variety of sounds on this album with the more Nicki Jaine-esque tracks, the classic Black Tape songs, and then other sounds that touch more on the dark caberet of Brian Viglione or just nice singer/song-writer tracks like Love Song. The production on this album is tight which really with Rosenthal with help from Steve Roach, no one should be surprised. The album also comes with a wonderful booklet full of beautiful pictures of naked women alongside pictures of the band member's, lyrics, etc. Great work by all those involved in the album who are clearly all master's of their craft, and a special hats off again to Nicki Jaine for how much I adore hearing her say "fuck". Favorite Tracks: Sailor Boy, Inch Worm, The Perfect Pervert, Love Song, Rotten Zurich Cafe, The Pleasure In The Pain, and Curious, Yet Ashamed

Album a Day (Book Edition): Who Killed Amanda Palmer: A Collection of Photographic Evidence

2010-07-10T18:36:00.000-07:00

I love companion pieces. As an artist I totally get it when you say to yourself, "Yeah...this works but how can I expand on it and if I can't do it alone who can help me?" And that's exactly what Amanda Palmer has done for her debut solo album Who Killed Amanda Palmer. I purchased the book, Amanda Palmer: A Collection of Photographic Evidence, when I went to see her with my former housemate (can I just say how nice it is to live in a house every once in a while?) and close friend Brian (so close that he bought me a ticket to see Amanda Palmer with him) play here in Los Angeles with Sxip Shirey (accompanied by Sxip Shirey's hair, if you don't get it then you weren't at that show so sorry, but you can follow them both on twitter), Jason Webley (to whom she dedicates the book), and her and Jason's collaboration Evelyn Evevlyn (and I'm sure I will be reviewing their debut album together very soon as I have listened to it a few times and it just all sorts of good). The book was 40 dollars and well worth every penny. Limited to 10,000 copies (which seems like a lot but limited is still limited) the book features the lyrics to all of the songs on the record with the exception of What's The Use of Wond'rin? plus stories by Palmer's fiancé Neil Gaiman (this is normally the place where I'd tell you who this is but if you don't know who Neil Gaiman is then its probably best you discover on your own) and photography by Kyle Cassidy (who also reportedly laid out the book), Beth Hommel (one of two photographers including Cassidy that got top billing on the book alongside Palmer and Gaiman), Ben Cerf, Tom Dickins, Lauren Goldberg, Amandacera Hannon, Marie-Harveline Caron, Regin Hertrich, Ryan Krakowsky, Michael, McQuilken, Gregory Nomoora, Ron Nordin, Oliver Orion, Tegan Rain, Malka Resnicoff, Nicholas Vargelis, Anabel Vasquez, Rodriguez, and Amanda Palmer herself with appearances by several artists most prominently (at least to me) Jason Webley and Regina Spektor. I really like the inclusion of the lyrics and this is definitely not the first time Palmer had something like this (or the book itself) as there were either companion books or at least songbooks (and sometimes the books were a mix of the two) for her previous releases as part of The Dresden Dolls. What makes this book different is that she chooses to play more off the fiction aspect of the title Who Killed Amanda Palmer. The lyrics here are the one element that don't really match the theme but if you are going to have companion pieces then they are going to need to have at least some crossover (something I'm dealing with now as I work on my new avant-garde film and book of short stories both titled The Impossible Task of Knowing) so I think the inclusion of the lyrics is nice for the fans of the music. Its also interesting to read the lyrics and listen along to the album (which is what I did, though the order of the lyrics are in the order on the album that they appear in the book so I skipped around the songs as I read along in the book) because you'll notice that the two don't always match up which would seem to indicate that the lyrics were put into the book before they were finished being recorded (though this is also something that could have been changed at times during the mastering process of the album which is said to have taken three times). I don't think it should come as a surprise that the real highlights of the book are the short stories by Neil Gaiman. There are only a few but each of them is a bit of a different style and so sometimes you get stories that seem like clues as to the fictional death(s) of Palmer and other times you get a simple small poem also connected to the theme but not always as directly. Gaiman's language is always just so compelling and I love the quiet nature of his writings here. One of my favorite lines comes towards the beginning of the book as part of a diary entry by one of three young girls that finds Palmer's corpse. The line says, "The bruises on Ms. Palmer's neck were the colour of blackberry jam. There's another great story about a writer riding in a hot air balloon with his love and typing out the end of his novel (perhaps metaphors for Gaiman and Palmer) when his love gets annoyed with his typewriter before he throws it out of the balloon (though this would seem to indicate to me not Gaiman and Palmer). My favorite story though is one about a girl (named Amanda) whose father marries a woman with a daughter of her own and then the father dies leaving Amanda with her stepmother and stepsister (both of them just awful). The story reads like a Hans Christian Anderson or Brothers Grimm fairytale where a young Amanda is sent by her evil stepmother to buy drugs for her. I'll try to spare you the spoilers but Amanda's generosity winds up resulting in jewels pouring out of her mouth as opposed to the stepsister who's greed and indifference only produces various lizards and reptiles. I just adore the jewel imagery which is enhanced by a wonderful photograph by Amanda Palmer of jewels coming out of her mouth and she lays dead. In fact almost every picture in the book is of Palmer's fictional corpse taken by the various photographers in a number of scenarios. The aforementioned picture is the best one taken by Palmer though the other ones are generally good. In addition to that photo I really like the two page spread of eight photographs taken in succession of Palmer in her underwear in a very cabaret looking room going absolutely nuts (one of the few photos in which she is not a "dead") and the red and green close-up shot of Palmer on the page just after the lyrics to Oasis. Kyle Cassidy probably has the most photos throughout the book. I don't really think there are any outwardly bad photos in the book but Cassidy's generally aren't my favorite. Most of them are technically good but remind me a lot of most of the photographers I experienced while working in the fetish scene which is to say that the pictures are fine but the photographers are so enamored with the subject and the concept that they often fail to take advantage of the photographic medium and so the pictures are ok but more a good idea than a well executed piece of work. I think Cassidy's best photo is actually of Palmer in a diner with two friends and her face is lying in her food while the two friends are looking anywhere but at her. Palmer doesn't look actually dead in this photo, its just funny and feels like its the most honest photo in the book. There's also a cute picture by Cassidy that accompanies one of Gaiman's stories in which Amanda Palmer's future-self travels to the past Terminator-style and kills her past-self. Cassidy's photo involves Palmer in her more current look holding a sword and standing over the body of herself-circa-Dresden Dolls (with full makeup). I think Beth Hommel's pictures are stronger and often more subtle like in a great photograph just after the lyrics to Runs In The Family in which Palmer's corpse is in the background mostly out of focus with just her hand and the leg of a really great piece of furniture (maybe a chair) in focus in the foreground though my favorite of Hommel's pictures is right on the nose: a polaroid of Palmer nude and dead in the snow just in front of the Yale University School of Art sign and dated December 19, 2008 9:10 PM (clearly trying to recreate a crime scene photo). In fact, in usual Amanda Fucking Palmer fashion she is naked all over this book so if never have seen her in such a state, curious, and don't mind corpse poses or arm-pit hair then the book may be worth it alone to you for that. I won't go into detail about every single photographer but my favorite pictures (besides the ones previously mentioned) include a black and white nude photo of Palmer's nude corpse washing ashore by by Michael McQuilken (I believe the only B&W photo in the book), Palmer's corpse in her underwear with the panties pulled just below her ass just beside a baby carriage in the hallway of what appears to be a hotel by Marie-Harveline Caron, Palmer hanging by a noose on swing next to a young boy swinging by Kyle Cassidy, Palmer's corpse in full cabaret attire lying on a cobblestone street alongside Kriss Kross magazines (worth it for the beautiful color alone) by Regis Herthrich, Palmer's bloody corpse in a sequined dress where the photo looks again like a crime scene by the on-camera flash by Anabel Vasquez Rodriguez, the cover photo (but inside the book) of Palmer lying dead on a couch, covered by leaves, with the words "Who Killed Amanda Palmer" written on the wall accompanied in the book by a fictional description of an anonymous artist using the body as an installation piece both by Gregory Nomoora, Palmer's corpse once again in underwear, a garter belt, and stalkings this time on a spiraling staircase as the photo is taken down the stairwell with the foot of the on-looker peaking in by Marie-Harveline Caron, and my absolute favorite is of Palmer's bloody corpse in fishnets and a pink tank top accordianed-up in a shopping cart by Nicholas Vargelis

Album a Day: Razed in Black - Damaged

2010-07-07T23:10:00.000-07:00

Its rare, but it happens every now and then where a band really just eventually finds the inspiration to go from middle of the road to great and that's exactly what Damaged represents. I'm not by any means saying Razed in Black was bad previous to this work, however Romell Regulacion's Razed in Black essentially spent two albums a few EPs as a solid industrial band with the one club hit being Oh My Goth! which is lyrically much better than the title would suggest but honestly if you're around other people and someone either here's that main chorus hit or just sees the title it can be a very embarrassing moment sort of like when you tell some of your friends that you like Pro Wrestling and you have to attempt to explain to them why its actually really good. In an interview I did with Romell after the release of the album he talked about the autobiographical nature of the Damaged as connected to a really difficult relationship/break-up he went through as the inspiration for the album and there's something just about the honesty and pure emotion of this album that really translates as I think it what was able to carry this junior album from the King of the Hawaiian goth/industrial scene to the next level of music making. Though originally more of an industrial band, Damaged has a really interesting mix of the bands signature industrial style mixed with elements of EBM, synthpop, and house. I also love that the elements Regulacion stayed true to the elements of RiB that were good before like prominent guitars mixed into the electro-industrial sound but even stepped that to a higher level in addition to friendlier synths that create a nice contrast to the darker electronic elements. I also really appreciate that Romell used this album as an opportunity to show off more of his vocal work which is just so rich in emotion on tracks like Share This Poison and Come Back To Me. Sonically this is a really complex album with a lot of layers that accompany the layers that go with the kind of situation that Romell clearly had gone through and shows in both the music and lyrics. It can get old listening to albums that focus more on love or breakups specifically so its actually refreshing that you get the full range of emotions here and thoughts like wanting to put the blame on anyone involved at different times, wondering where it all went wrong, reminiscing, and trying to just put things back the way they were. This is just such a heartfelt disc with wonderful music that is touching to listen to while also a great club album with several hits on album. I also really love the length of the songs. There are 11 tracks on the album with a total of just over an hour of music with each song averaging about five minutes, which allows each song really develop and adds for nice moments like the starting of the computer and synths at the beginning of Visions. These little bonuses give the album add another dimension similar to movie sampling but more original, create a narrative to the process, and also allows for breathing room. There are also several really nice appearances by fellow artists and friends of the project including Jay Tye (Soil & Eclipse), Athan Maroulis (Spahn Ranch), Alexys (Inertia), Reza (Inertia and Killing Joke), DJ MissGuided, and RiB contributors Yoshimi Shinozaki and Vicci Neptune. The album comes in a really nice digipak (which fittingly quickly gets damaged) with beautiful artwork and a bonus disc of some really cool remixes. The remixing actually seems like it begins at the end of the first disc which is an alternate version of Never Meant (originally from the album Sacrificed). The remix disc actually begins with another alternate version, this time of the album track Blush. The alternate version isn't really all that different but perhaps even slightly more club friendly (not all that different than a radio edit). The second track is a remix of Leave It All Behind by Romell that really shows off his remix skills as one of the more consistent remixers in the goth/industrial scene. Though normally his remixes can often be much clubbier more spastic versions I think he knows his music so well that instead we get these amazing 80's style synths layered over a track that was already really solid on its own. The Eve of Destiny remix of I'll Damage You and Soil & Eclipse remix of Am I 2 Blame? are pretty standard club mixes and actually not terribly interesting but sandwiched on the CD between them is really the crown jewel which is the Assemblage 23 remix of Visions. I challenge anyone to find a better remixer in Goth/Industrial than Tom Shear of Assemblage 23 (and he's certainly one of the top remixers in electronic music or music period). Tom really breaks down a song, understands what it does, and then gives his take on what he'd like to see done with it. If a band plays similar music to him then I feel like he makes sure to give the song he's remixing as different a take as possible and I think that is the excellent result we get with this track that is just so distinct with that amazing synth line throughout the song. I'm not sure whether I like the original version of Visions better or this remix but I would love to see Tom Shear do more remixes outside of Goth/Industrial with bands like The Knife, Ladytron, Robots in Disguise, IAMX, and even non-electronic bands like The Killers or Amanda Palmer. The disc continues on with two particularly intriguing remixes. The Break Athem remix of Visions (interestingly renamed here as Visions of Our Past) by Sonic State brings the song into a really tribal and visceral place that would feel redundant if it just weren't so compelling and the Neikka RPM mix of Blush is just a really cool industrial track. The album finishes with a reprise of Visions (the most remixed song on the album) that on its own is nothing special but I think caps off the roughly hour and forth-five minutes between the two discs rather nicely. I also think its really great that the two discs is the standard version of the album with no special edition because I think it just adds to the epic quality of this master work. This album was released in 2003 and while Razed in Black claims to still be active its really a shame that there hasn't been an album since (though there have every now and then been new tracks or covers on various compilations and tributes mostly put out by the bands first and only label Cleopatra, having signed with them just after the band's founding back in 1994). Favorite Tracks: Blush, Share This Poison, There Goes My Head, Leave It All Behind, Visions, Come Back To Me, Nevermeant_V2, LIAB (Future Retro Mix), Visions (Assemblage 23 Mix), Visions of Our Past (Break Anthem Mix), and Blush (Neikka RPM Mix)

Album a Day (Single Edition): miLù mit Kim Sanders & Peter Heppner - Aus Gold

2010-07-06T10:47:00.000-07:00

This three track 2004 solo-debut single for artist miLù (Anke Hachfeld of Mila Milar) would see the frequent Schiller collaborator enlisting the aid of two other Schiller collaborators in the form of Eurodance alumni Kim Sanders (Flame, Captain Hollywood Project, Culture Beat) and EBM mainstay Peter Heppner (now ex-Wolfsheim) for the title track Aus Gold (From Gold). Aus Gold is a really beautiful track and miLù's vocals remind me of a slightly pulled-back Björk and while listening to it I was really digging on it. The structure of the song introduces Kim Sanders during the 2nd verse and Heppner in the 3rd with the song ending on all three performing the chorus. I really love songs like this because it really allows for the collaborative process. In fact the lyrics to Aus Gold were co-written by miLù and Peter Heppner with producer Dirk Riegner (Secret Discovery, Space Jazz Dub Men) contributing to the music writing. With Sanders vocals you have four talented artists all coming together to create a song that has both mainstream appeal (well mainstream if you either speak German or enjoy singing in the German language) and appeal to the artist's respective main-genres. The main reason I actually bought this CD was being such a Wolfsheim fan and wanting to the hear the guest vocals by Peter Heppner, who has shown in the past to always choose great projects to lend his vocals to in addition to consistently being a positive addition to any song having worked with the aforementioned Schiller, Umbra et Imago, Paul Van Dyk, Joachim Witt, Goethes Erben, and José Alvarez-Brill amongst others. What I find particularly interesting about the timing of this contribution is that it was around the same time as Wolfsheim's Casting Shadows, the band's last album before the split of Heppner and Markus Reinhardt. Though the real split is said to have happened in 2005 after Heppner signed a multi-album solo record deal, it wouldn't be hard to guess that the collaboration on this slightly more mainstream-sounding disc might have foreshadowed Heppner's inklings towards wanting to brand himself more for a run at a solo career. The second track Du Mensch is sort of a more fun track with only miLù on vocals this time. I really like this track and see the radio appeal (again really only if you are in a German speaking country or a fan of the German language). The third track is the first track again but minus the guest vocals by Sanders and Heppner which to me basically makes it a throwaway track. The CD also includes a video for Aus Gold that is really only worth because of some cool vintage footage (hopefully found and not recreated) and the chance to see Peter Heppner in a jean jacket (though he's wearing two jackets which just goes to show how fucking cold it must have been on whatever beach they filmed it). The big thing you have to really appreciate about this release is that it set to work in support of the German Red Cross for the aide of Afghan Poorhouses. Favorite Tracks: Aus Gold and Du Mensch

Album a Day: Shadows Fall - Threads of Life

2010-07-05T11:52:00.000-07:00

I have to give my older brother Lee all the credit in the world for recognizing how good Shadows Fall was long before I ever did, though it helped that he had the opportunity to be around the then-growing Hardcore and Metal scene in New England. In fact we were right in the thick of it with local metalcore bands like Overcast and Aftershock breaking up and reassembling into bands like Killswitch Engage and Shadows Fall, though all of this would be a few years before my time or at least a while before I was a metal fan. Since then these bands have really made the transition as the pioneers of metalcore and have constantly shifted their sound and matured as artists and one of the best examples of that is 2007's Threads of Life. While I don't have a bad thing to say about previous Shadows Fall records I just think Threads of Life is a mature album and shows the bands growing understanding of not only how to put together great individual songs but how to make an album work on a whole. There's a great mix of more traditional metal songs like Dead Uprising, mixed in with cutting edge tracks like the first single released from the album Redemption, and even melodic reflective songs like Another Hero Lost. This fifth album is the band's only release on a major label (the band has since started their own label Everblack Industries) the boys from Western Massachusetts really stepped up their game and all the hard work and dedication shows in a grouping of songs that for the most part all seem really personal and heartfelt. I love that much like the aforementioned Killswitch Engage there are a lot of really positive songs on the album like Redemption (which earned the band a Grammy nomination for Best Metal Performance with no shame losing out to legendary metal-gods Slayer) but still critical with a fantastic song like Failure of The Devout. Lyrically there are a lot of really interesting songs on this album that are really carried by Brian Fair's fantastic vocals. I always appreciate that Brian Fair is a singer and isn't afraid to sing and do a really good job at it, although there is a good balance between his singing and a fair amount of that metal scream as well (though perhaps more subtle than other bands). There's a lot of great guitar breaks in this album both electric and acoustic that adds to moments of breathing room that can often be missing from metal albums (or just a lot of albums in general these days). I also really enjoy the consistency of the album. Every track is really good on its own but there's a cohesion of themes amongst the songs like loyalty, hope and struggle in the face of adversity, the harsh reality of death. I also really like covert art illustrations by Angry Johnny. Overall this is a really solid album and worth not just listening to but really engaging with. Favorite Tracks: Redemption, Failure of The Devout, Venomous, Another Hero Lost, Dead Uprising, and Just Another Nightmare

Album a Day: Jessica Vale - The Sex Album (Second Edition)

2010-07-03T13:08:00.000-07:00

In 2005 New York City multimedia artist Jessica Vale released her debut The Sex Album comprised almost entirely (with the exception of Vale's vocals) of sex sounds from various couples amongst the NYC club scene and manipulated into something haunting, beautiful, sexy, dirty, raw, pretty much everything you could want from what is time and again in reviews referred to as "dark rock" (though it sounds basically like industrial to me). There's a great diversity of work here because there are a few goth/industrial club tracks like Disco Libido, The One Over There Is All Mine, and Sarajevo but then more dark breakbeat-style songs such as The Boy In Black or Breather but some of my favorite songs are really the ones that I think are more in line with Vale's multimedia background with the deeply poetic spoken-word pieces Welcome which is basically an instruction manual on how to fuck and Sweet Sixteen in which Vale as the narrator recounts her sixteenth birthday in which she hung out with a boy, got high, drank, had mediocre sex, got poison ivy, and that was pretty much it. Sweet Sixteen to me might be the best track on the CD and reminds me of the works of Sadie Benning (experimental filmmaker, daughter of James Benning, and former member of Le Tigre) and Bill Brown (filmmaker, photographer, and author). The entire album has a great aesthetic appeal and is great to listen to and just enjoy on a visceral level but there's also a lot of layers that can be pealed away that gives The Sex Album a real complexity, though none of this should come as a surprise given Vale's extensive work in the art and film-making communities. In addition to the regular 11-track actual album the CD also includes four bonus tracks (two remixes and two radio clean tracks). The remixes are both solid though I really found myself drawn more towards Jeff Saphin's remix of Boy In Black which brought the track to another level. The Infinite Volume Remix of the non-album track Disco Boy is certainly delightfully spastic. The last two tracks, clean versions of Disco Libido and Boy In Black certainly serve their purpose of having radio friendly tracks that I think helped Vale and this album's climb up the Billboard Charts but for the regular listener and given the subject matter of the album already they are basically throw away tracks that you can skip at the end. This is a great album to just sit down and chill to or fuck to (and isn't that really essential in anyone's collection?). Favorite Tracks: Welcome, Look Pretty, Sweet Sixteen, Sarajevo, Disco Libido (Radio Mix), and Boy In Black (Saphin Remix)

Album a Day (Tribute/Compilation Edition): Various Artists - From Russia With Love: A Russian Tribute To Pigface

2010-07-02T21:14:00.000-07:00

I'm always a bit skeptical about tribute CDs because you often wind up with one of two scenarios: either the vast majority of the bands on the tribute can't do the original material justice or the bands on the tribute are far superior to the undeserving recipient of the tribute. The first scenario isn't necessarily the bands' faults because most great covers come out of the band/artist's connection to a particular song/band which necessitates a cover: Amanda Palmer loves Radiohead so she decides to cover a Radiohead song. This decision on the part of the artist/band can help motivate for a better cover because they feel they owe something to the material or they've heard it so many times that they can put their own unique take on it (as will be the case with Palmer's upcoming ukulele tribute to Radiohead out this summer). A tribute CD may collect one or two of these songs that exist but the need to fill a CD means that some bands are going to get recruited for the tribute and there's probably a deadline. The second scenario has generally been the fault of Cleopatra Records (whom we all loved when they were a real label kind of like when MTV used to play videos) who for years felt the need to put out tribute CDs on a regular basis because compilations sell and die-hard fans apparently buy tribute albums. At first we got some pretty good tributes to bands like Metallica (like em or hate em they deserve a tribute and it produced some great material) and though the Marilyn Manson one seemed premature it was pretty good, but then there was a "Goth/Industrial" tribute to Linkin Park and THAT is where I just draw the line. With all of that in mind I wasn't really sure what to think when I heard there was a tribute to Pigface. Pigface is already an eclectic band made up of so many artists that I wasn't sure what a bunch of covers would do but THEN I heard it was a Russian tribute to Pigface. This is a great tribute! Put together by Andrey "box (I swear that's how it's spelled) who fills the Martin Atkins role by contributing to several tracks, this CD is less of a tribute to the actual music of Pigface and more a tribute to the spirit in that there is a lot of experimentation with the tracks and while they may serve as a framework, most of the time the songs come off as original creations (perhaps adaptations more than anything). Several of the bands including Andrey "box's Boxhead, Spiec Boys, Crovj S Molokom, and Brompton's Cocktail are much more on the experimental end of the music and create somewhat of a meditation on Pigface with new interpretations. I particularly like the contribution NHL with a cover of Hips Lips Tits Power (here titled in Russian as Liajki Siski...Htl Power) which is very punk rock and you haven't heard raw until you hear post-communist Russian punk rock covers of industrial songs. I also really like the more traditional cover of Asphole by Arzamas-16. What I just find amazing about this CD is that halfway across the world you have a scene of musicians that are clearly inspired enough by another scene of musicians to come together and put together what is essentially a love letter to the one of the most influential bands in industrial music. There's something really beautiful about that. And you just have to appreciate the Bond-inspired titled and fantastic cover art by John Bergin. Favorite Tracks: Spiec Boys - Kiss King (Kolombo Mix), Brompton's Cocktail - Insemination, NHL - Liajki Siski...Htl Power, Das Reut - Ten Grownd & Down, and Arzamas-16 - Asphole

Album a Day: The Echoing Green - Defend Your Joy

2010-07-01T12:42:00.000-07:00

The Echoing Green's Joey Belville has described the objective of his music to be something that makes people want to jump up and down, freak out, and kiss their mom. There's a lot of pain in the world (and certainly this is something that The Echoing Green has explored) but its sometimes nice to just have an album of happy music made with the purpose of being happy and I'd say that's something that is accomplished on this debut album from one of the mainstays of the American synthpop scene. This album was released in 1994 and at times has 90's synthpop written all over it. I really enjoy the early to mid 90's era of this genre because the hype of 80's new wave had died down and we hadn't quite moved in to the resurgence of electronic music of the later part of the 90's and 2000's so there's something very underground and passionate about those still making the music in the face of grunge, industrial, and indie rock. Synth music certainly isn't the only thing that Belville is dedicated to as he is a devout Christian. While his Christianity is always an influence, no one including Belville would really describe The Echoing Green as a Christian band, though this first album may push the limits of that if nothing else for heavily Christian liner notes and uncredited guest vocals by Christian artist Riki Michele on the title track Defend Your Joy. Nothing wrong though with Belville's Christian message (though I am an Atheist myself) but given how he brings it to the foreground in this album I think its work exploring. Back when I was a teenager I grew in Western Massachusetts and my friends and I would go to downtown Northampton a lot. In Northampton there were two types of Christians that were very present. The first were the very vocal, preachy ones that would plead for us to repent and the other ones were these very nice people that on Friday nights would bring hot chocolate, soup, cookies, etc. to a small park at the edge of main street (not just for the homeless but for everyone to enjoy. That second group is how I think of The Echoing Green's Defend Your Joy. I don't think this is their finest work as that would certainly come later with albums like The Winter of Our Discontent, but this is a great start with some really fun tracks including the title track which is a particular favorite of mine. I really love the sample on Enter Love that just pushes the track into overdrive but is also is the type of sample we don't hear often enough (presumably taken from some sort of older instructional film or recording). In addition to the original tracks there's also a pretty cool cover of Underworld's Pray and two remixes, one of the album track Terra Firma and the other of the track Deep Inside Your Heart. The original version of Deep Inside Your Heart would not appear on an official release until six years later on the compilation Oceanaria V1.0. This is a fun very danceable CD that if you're a fan of The Echoing Green will help give you perspective on where the band started out and is worth checking out. Favorite Tracks: Son In My Eyes, Terra Firma (Stand), Enter Love, Defend Your Joy, Brand New Day, and Terra Firma (Stand) (RemYx)

Album a Day (Digital/Rarities Edition): I, Parasite - Assorted Debris (1996-2001)

2010-07-01T00:13:00.000-07:00

Originally released in 2002 as a CD-R, Christopher Jon (the brilliant mind behind the epic I, Parasite) has re-released this collection of rarities, remixes, and live tracks from before the release of the band's debut album Turin just past the remix EP Horseslayer (both excellent releases) in digital form available on the steadily more and more popular Bandcamp website. The major difference between this version and the original CD-R is the inclusion of the full version of the EPIC 23:14 track Urine/Heaven Stench/Filth/Hope To Fall which in and of itself could be a stand-alone EP. I love this release because while not all the songs are necessarily of the same caliber of the album releases these tracks really give I, Parasite fans more insight into what was going on creatively in the mind of Jon and to a lesser extent former bandmate Justin Butts (credited simply as J). Assorted Debris (such a fitting name for a collection like this) plays a lot like a road-map though it seems obvious that the album isn't chronological so in some ways its live a serious of anecdotes starting with the track Sn.6x8 and its remix by M.A.S. which I would guess takes place somewhere in the middle and really serves to give you a feel for where you are going. We then we jump back in time with the four Dis.organ.eyes demos (perhaps an earlier name for the project or release that never really got off the ground? I would love a small triptik that went along with the album) which are really quite different than later IP material. These four tracks are fairly basic industrial tracks except that there something's incredibly haunting about them. The synth work really contributes a gothic feel that reminds me of watching an older horror movie like Nosferatu (a film which absolutely still holds up in creepiness). After that we move on to two of my favorite tracks on the album: Ascension and Skinlike (Soft). I'm actually surprised that these two tracks never made it on to an album because they are both vintage I, Parasite (sometimes just need to get cut for lack of room sometimes). Ascension is a little bit noisier but I love how it begins very ambient and but eventually moves into really gut-punching powernoise. It sort of reminds me of a harder-edged Godspeed You! Black Emperor. Skinlike (Soft) is just one of those amazing I, Parasite tracks that mixes really delicate synths with extremely heavy drums that creates this beautiful yin-yang as the back-drop for Christopher Jon's pained and introspective vocals. The next two tracks are both listed as demos. Guiltmask seems like sort of throwaway Wumpscut-esque industrial track (not bad but nothing exciting) but Glass Shards is a really touching piano track that may not really fit in with most of I, Parasite's other material but is a really nice change of pace. The three live tracks all sound great and surprisingly crisply-recorded given that they are from the early 2000's. The live tracks give a really great feel for I, Parasite's live show. I first saw IP live back around this time probably about 2003. They were gearing up for a bigger show and so they were booked at this really bizarre all-day festival of terrible local Connecticut bands at this backwoods venue that I think was a campground dining hall or Elks Lodge or something. I was doing interviews for my Ithaca College/106-VIC radio show The Last Exit and so I got a lot of time to talk to Christopher Jon and his live band (including my now good buddy and I, Parasite bassist Bret Calder). The festival was an all day thing and this group of mostly teenagers kept leaving after the bands they came to see and while I, Parasite was the headlining band, all that was left by the time they went on were me, my friend Caitlin, the band, the "promoters" and maybe one or two other people. In spite of this I, Parasite played an amazing show for the few of us. What I'm saying between the weird side-story and the live tracks on this release are that if you ever get the chance to see I, Parasite live then fucking do so because they will not disappoint. The final track on the album is the aforementioned Urine/Heaven Stench/Filth/Hope To Fall which to me could be an industrial opera. This track is so epic and amazing. This is the type of thing I would love to see the band get back into as perhaps some sort of large opera similar to The Knife's Tomorrow, In a Year. I also just absolutely love the artwork by Paul Komoda. I, Parasite album artwork is always interesting and this is no exception. Assorted Debris (1996-2001) is available for download at http://music.iparasite.net/album/assorted-debris-i-1996-2001 for free but with Bandcamp you can contribute and please do as the band is great, Christopher Jon is a super nice guy (bought me a post-show meal at a diner once), and this collection of music/love is well worth it. Favorite Tracks: Sn.6x8, Chained Exit (Dis.organ.eyes demo), Gun (Dis.organ.eyes demo), Ascension, Skinlike (Soft), Piety (Live @ Club Laga, Pittsburgh), No Question (Live @ QXT, Newark), and Urine/Heaven Stench/Filth/Hope To Fall

Album a Day: The Sounds - Living In America

2010-06-30T12:59:00.000-07:00

If you're just getting into The Sounds now then there is a good chance you're missing out on their 2002 debut album Living In America, which to me is still their best album (this shouldn't take anything away from the subsequent album but Living In America is just such a great album). I'm not really positive how I discovered The Sounds as I sort of had two connections: the first was hearing the song Dance With Me (which is my favorite track on the album) during an MTV promo. Dance With Me is a great song for dancing along to, singing along to, and just makes you feel really good. The song itself was never credited nor was any footage of the band shown, but rather just the song playing in a sort of "You should watch MTV cause we sometimes still play videos" (in fact in might have even been for MTV2 which barely plays videos anymore) and the second connection was a buddy by the name of Matt Simon who would wear kickass yellow on blue Sounds t-shirt to a sound theory class of ours in college (and how fitting that is is not lost on me). Somehow the two connections got crossed at a certain point and the next time I was on a break from school I was in Massachusetts (one of the last times while still living there before my folks moved to Florida) and I visited a used CD shop I liked but rarely went to named Mystery Train in Amherst, MA. For anyone that is a connoisseur of Used CD you know that its basically a futile attempt to try and find a specific CD (unless you go to Amoeba Hollywood, but that's more the exception to the rule and even then its not a guarantee you'll find what you're looking for used) so I was quite surprised when I decided to look for The Sounds and actually found the CD. Needless to say I'm quite glad that I did because this has easily become one of my Top 10 favorite albums of all time (ya know the kind that you'd bring on a desert island under the assumption that you have a CD player that will somehow never run out of juice?). What I love about this CD is that its so incredibly fun and danceable and yet there are a lot of somber moments about difficulties with love, and not necessarily breakups or fights but the difficult choices between devotion to art versus a committed relationship (see the track Rock 'N Roll) or love that just isn't meant to last forever but is so strong in the moment. But this certainly isn't a purely love-themed album as you have songs like the punk rock tribute Riot, the Blondie/Siouxsie & The Banshees-esque Hit Me! or one of my favorites in the form Living In America which certainly can be left open to interpretation but hits me as a comfort to the youths of Sweden (especially the bands) that perhaps desire to be apart of the American scene but there's something sort of punk rock about having your own small scene (something that people in small towns in America can certainly appreciate as well). All of the tracks on the CD could be singles unto themselves and yet the album works together so well. There's a great mix of styles including synth-pop, punk, disco, and straight up rock with individual tracks that are reminiscent of the aforementioned Siouxsie & The Banshees and Blondie in addition to ABBA (hard to be a Swedish band and not get compared to ABBA). I love the simple artwork for the album with the band's logo on the back of a leather jacket worn most likely by vocalist Maja Ivarasson. Iverasson's vocals are so great that while the rest of the music is performed so well her vocals really make everything pop. The CD also includes Enhanced CD software that allows you to look at some photos and listen to an exclusive remix of Rock 'N Roll that is pretty much a throwaway remix (not a lot of good remixes of The Sounds out there) and watch videos for Hit Me!, Seven Days a Week, and Living In America which are essentially glorified videos of the band playing the songs but The Sounds are so charismatic (especially the facial expressions of Ivarasson who so incredibly beautiful) that it makes watching the videos at least somewhat worthwhile (especially Seven Days a Week which is a really fun video of the band playing in a small club for some die-hard fans). Favorite Tracks: Seven Days a Week, Dance With Me, Living In America, Hit Me!, Mine For Life, Rock 'N Roll, Fire, and Riot

Album a Day (Limited Edition Edition): The Damage Manual - Limited Edition

2010-06-29T10:48:00.000-07:00

The Damage Manual started off as a really cool concept in sort of a super-group with men that have very impressive resumes including Martin Atkins (Pigface, PiL, Ministry, Nine Inch Nails, Murder Inc., and Killing Joke), Geordie Walker (Killing Joke, Murder Inc., and Pigface), Jah Wobble (Jah Wobble's Invaders of the Heart and PiL), and Chris Connelly (known for both his solo work and work in Finitribe, PTP, Acid Horse, Pigface, Ministry, Killing Joke, and Revolting Cocks). Kind of like a Damn Yankees of Industrial. The problem is that Damn Yankees sucked. Well the first set of Damage Manual material was good and certainly something I'll write about someday but the second incarnation was just so great with both Jah Wobble and Geordie Walker leaving the band and the addition of one of my favorite musicians Steven Seibold of Hate Dept. (both a talented musician and producer) for this sophomore follow-up Limited Edition. Actually limited to 4000 copies for this beautiful digipak with raised plastic the presentation starts the whole album off really awesome (although sometimes difficult to store). Though often referred to as an industrial rock album it actually tends to verge on what should be called Post-Industrial Rock. The album really pushes the limits of what industrial-rock is. The reason I say verging is that I'm not sure Industrial can have a post-quality as post-genres tend to be more experimental complex versions of the originals and when you do that in Industrial Rock you actually just get earlier industrial bands like Throbbing Gristle and Einstürzende Neubauten. However, this album certainly has elements of industrial, post-punk, and punk for an album that really kicks ass and has a lot of thought put into it. I love the lyrical content on songs like No Act of Grace (a great reflective song), South Pole Fighters, and Mad Dialect. You can also just feel all the chemistry that Atkins, Connelly, and Seibold have from years of working together on Pigface and so there is really an element of brotherhood in the album. I enjoy the album from start to finish, the album flows well, the production is tight, and each song maintains a sound true to the album while exploring different ideas at the same time. If you can find a copy then I suggest adding this to your library. Favorite Tracks: Revenge Fiction, No Act of Grace, Mad Dialect, South Pole Fighters, and Limited Edition

Album a Day: The Cure - Boys Don't Cry

2010-06-28T12:44:00.000-07:00

Sometimes referred to as a compilation, Boys Don't Cry served as the American debut release from The Cure. Boy's Don't Cry is essentially the same as the band's official debut album Three Imaginary Boys minus several songs (Meathook, It's Not You, and a cover of Jimi Hendrix's Foxy Lady recorded during a soundcheck with bassist Michael Dempsey on vocals) and replacing them with several other songs including the title track Boy's Don't Cry, Plastic Passion, Jumping Someone's Else Train, Killing an Arab, and World War. Three of the tracks (Object, World War, and Foxy Lady) were choices made by producer Chris Parry despite being despised by Robert Smith and in years later found their way off of the CD release and adding in So What. If you didn't tell me this was a compilation of songs I would feel pretty confident it was just a really great album as the flow is fantastic. I love this early work by The Cure as there are a ton of punk and goth rock elements infused in that sound that would later become the staple of this West Sussex band. Smith and the rest of the band have often pointed to many of these songs as being lightweight and because of their relative inexperience they had little say during production, however there's a lot of great content with songs like Killing An Arab which Smith says his attempt at adapting moments of Albert Camus' seminal and heavy-handed philosophical novel The Stranger or the poetic imagery of Fire In Cairo. Smith has said that he originally envisioned The Cure as being a punk rock Beatles, and so its only fitting that like the Beatles he should think of this early material as somehow less than. I'll say it, I love The Beatles early pop music with songs like I Wanna Hold Your Hand and I can say the same about a song like Boys Don't Cry. Sure, this isn't the deepest material or most complex but that shouldn't lessen the aesthetic value and certainly doesn't make it less enjoyable. This 1979 release is a fun album and these songs (along with the remaining ones from Three Imaginary Boys) should be appreciated for their historical value as they would be the bulk of the material made before The Cure would embark on a tour which would see Smith pulling double duty for his band and as the guitarist for the headlining band Siouxsie & The Banshees which had recently seen the departure of John McKay. According to Smith, playing as a Banshee greatly changed the direction of The Cure. Favorite Tracks: Boys Don't Cry, 10.15 Saturday Night, Jumping Someone Else's Train, Killing An Arab, Fire In Cairo, and Three Imaginary Boys

Album a Day Note

2010-06-26T15:52:00.000-07:00

From a suggestion by the lovely Kendra (seems like she's becoming my supervisor) and a good talk with Mike Okum and Gina I decided last night to create a way to allow readers of my Album a Day blog to listen to the music I'm discussing. With some aide from grooveshark there is now a Jay Kantor's Album a Day playlist that can be accessed by all, I've included the songs that I list in my Favorite Tracks of each post (with the exception of DVDs and the Gristleism Machine) so you can sample the albums. You can find everything at this link: http://listen.grooveshark.com/#/playlist/Jay+Kantor+s+Album+a+Day/31249159 and of course as always my blog can always be read at http://www.facebook.com/pages/Jay-Kantors-Album-a-Day-Blog/119606201415505?ref=ts

Album a Day: Marilyn Manson - Eat Me, Drink Me

2010-06-25T18:39:00.000-07:00

I remember when this album came out there were a lot of mixed feelings both in reviews and friends of mine that were fans of Marilyn Manson with the feelings generally either falling on the side that this was a really great album or that this had strayed too far from the original Manson sound (often being labeled by those of that opinion as "not hard enough"). I would say I definitely fall in the former. I think this 6th album is the most mature work we've seen. Of course I might be biased here as I've always been a big fan of Tim Skold's work. For those that don't know Tim Skold beyond his work with Manson, Skold has also been a major player in the industrial scene with his own 1996 solo album (and 2nd solo album rumored to be coming out sometime this year with three tracks already released on itunes) and his collaborations with Sascha Konietzko as a member of KMFDM, MDFMK and KMFDM vs. SKOLD. Skold has collaborated for years on great projects and Eat Me, Drink Me is really the pure collaboration of Manson and Skold and its so obvious all over the album. The guitar solos on many tracks can tend to get a little masturbatory are so well done and rare in a Manson album that you certainly have to appreciate it. The songs are all very well put together with a lot of love and vivid imagery. Its also easy to see how Manson's relationship with Evan Rachel Wood affected the album with her both being the inspiration for Heart-Shaped Glasses and appearing in the music video (a really solid video you should check out). At times the album really reads to me in a similar tone to Rob Zombie making The Devil's Rejects, which is to say that you can fully see Manson in the music but at the same there are other influences at work often reminiscent of that late 60's/early 70's rock feel circa Easy Rider with elements of stripped-down indie rock style guitars and even jazzy moments. Now this isn't to say there aren't some songs that are just downright classic Marilyn Manson. Putting Holes In Happiness has a lot of that great more somber/slightly reflective sound, Evidence is about as industrial-Manson as it gets and all of the lyrical content is straight Marilyn Manson. The collaboration between Manson and Skold is now done and hopefully we will see the two work on something together in the future, but if nothing else there is this great album to appreciate. Favorite Tracks: If I Was Your Vampire, Putting Holes In Happiness, Just A Car Crash Away, Heart-Shaped Glasses (When The Heart Guides The Hand), Mutilation Is The Most Sincere Form of Flattery, and Eat Me, Drink Me

Album a Day (Live/Remix Edition): De/Vision - Devolution Tour + I Regret 2003

2010-06-24T23:37:00.000-07:00

Technically two releases but available as a two-disc special edition with both the tour Live CD and the remix single for I Regret 2003, this release (or releases) stand as a testament to the talent of De/Vision. The first disc is the live CD recorded over two shows in Berlin and Leipzig, Germany in late April of 2003. To me this has all the elements of what a live CD should sound like. A lot of live albums recorded now just sound to close to the recordings and I think you really miss out on what a live album is. Conversely, I think we've all heard how a bad recording really just feels like a waste of time. This CD sounds live with the full audience interaction but its also very well done. The main reason I feel like a live CD really needs to sound like this is because the only real purpose of these recordings are as a tribute to the band you love. You wouldn't buy a live album from some band you're just trying to get into, otherwise you'd probably get pretty annoyed. The 2nd element that really makes this such a great live disc is that it does a great job promoting the most recent as of its release but also has some of the more popular tracks spread out over several albums (of which De/Vision has a lot, releasing an album no more than two years apart since the first album World Without End in 1993). De/Vision also isn't content with putting on a live show of a singer with some synths, no their shows feature a full band. If you ever get the chance to see De/Vision live I can't emphasize how much you should go. I saw them play at Safari Sam's a few years ago before it closed down (one of my favorite LA Venues, though I'm not sure everyone shared that sentiment) and they were intoxicating. Lead singer Thomas Adam just has a certain way about him that is energetic when he needs to be and completely soulful otherwise, which really translates well to this release. The remix disc is equally great featuring several remixes of the title track I Regret (one of De/Vision's absolute best songs) by some really talented remixers in addition to remixes of Bleed Me White and Try To Forget, and live versions of I Regret (the same version on the first disc), and Blue Moon. I think that Colony 5 has the best remixed track on this release. Colony 5 is one of the better bands to remix which I think often goes unnoticed but checkout the remix here of I Regret and also their remixes of Bruderschaft - Forever (only available on the special edition 2nd disc) and Pigface - Bitch (essentially Colony 5 remixing Dope, which is beyond strange but works really well). The other remixes of I Regret are also good with the VNV Nation one perhaps being the 2nd strongest, the HMB (Daniel Myer of Haujobb, Dennis Ostermann of In Strict Confidence, and Victoria Lloyd of Claire Voyant) is probably the most interesting (I somewhat suspect the remixing duties here were handled mainly by Daniel Myer but its hard to say), and the J.A.B. (José Alvarez-Brill) remix is nothing special but also doesn't hurt the track). The DJ Ram remix of Try To Forget is definitely the 2nd best track on the CD though the Backlash remix of Bleed Me White is equally strong. I think the real treat on this CD though is the live version of Blue Moon which is not included on the main live disc though recorded from the same set of shows. This version features just Thomas Adam and the crowd singing along in a really tender moment that takes full advantage of what a live show/CD is. This double release by one of (if not the) greatest synthpop bands ever is great for both a die-hard fan and club-goer/DJ alike. Favorite Tracks: Try To Forget (Live), Digital Dream (Live), I Regret (Live), Your Hands On My Skin (Live), Drifting Sideways (Live), I Regret (Radio Remix by Colony 5), Bleed Me White (Deadlock Remix by Backlash), Try To Forget (Reminder Remix by DJ Ram), I Regret (VNV Nation Remix), and Blue Moon (Live)

Album a Day: HṚṢṬA - L'Éclat Du Ciel Était Insoutenable

2010-06-22T23:43:00.000-07:00

Just amazing debut from Godspeed You! Black Emperor-founding-member Mike Moya's Montreal Post-Rock band Hrsta. A lot of the amazing elements that can be found in Moya's other projects are right on this disc in addition to his vocals being featured on several tracks. What I really love about this CD is that you get those great ambient tracks that are really easy to get lost in and yet there are also some slightly more conventional so it's a solid mix. This is the type of album that you could honestly just put on loop and listen to forever. You might fall asleep but you'd do so with a smile on your face. Hrsta is another band that just falls into the category of smart music. L'Éclat Du Ciel Était Insoutenable has great compositions, genuine emotions, ideas being put forward, and the packaging is just beautiful and looks like a lot of time and thought was put into it which shows a really appreciation to the fans and is the reason I still buy physical rather than digital. Favorite Tracks: Lime Klin, Don't Let The Angels Fall, I Can Transform Myself Into Anyone I Want, 21-87, and Lucy's Sad

Album a Day: HIM - Greatest Love Songs Vol. 666

2010-06-21T12:55:00.000-07:00

I really enjoy this debut album from Finland's HIM. Love is a universal topic and so it is expressed in art all across the board on a regular basis. Some bands try to hide this by writing songs about break-ups, shitty relationships, or burying it in metaphor, but not HIM. No HIM takes love songs and takes them WAY over the top, which I personally love. Love isn't polite, it's WAY over the top. I've had a relationship end and felt like it was the rapture, so why not write about it? Ok, I admit that at times HIM (especially this album) is perhaps a bit cheesy, but the emotions are all right there. I think the thing about this disc (and perhaps this goes for HIM in general) is that not every song really hits you or is really doing much of anything. In fact there are some fairly useless songs on this album. However, when the band hits the mark then they are absolutely firing on all cylinders. I remember the first time I heard When Love and Death Embrace I was almost brought to tears and it became a staple of my college radio show. The covers of Chris Isaak's Wicked Game and Blue Oyster Cult's (Don't Fear) The Reaper are also just spot on with HIM really embracing the original spirit of the songs but rearranging them to sound like they were written by the Helsinki band themselves. Keeping in mind this is also the debut album for the band I think it's really strong effort. Favorite Tracks: Your Sweet Six Six Six, Wicked Game, When Love and Death Embrace, (Don't Fear) The Reaper, and For You

Album a Day: Timb - Enjoy

2010-06-20T17:43:00.000-07:00

Not exactly an album or a compilation but rather a collection of acoustic version of songs off of various records by a South Florida staple in the form of singer/songwriter Timb. This is a great collection indeed and for anyone that has seen Timb play his solo acoustic shows (and if you've been through South Florida and not seen it then you're missing out, but chances are you'll see Timb playing in one of his variety of other projects) you'll know that Enjoy is perhaps much closer to those shows than his previously released albums. Now I love the other Timb albums but this particular release allows you to really hear Timb's raw musical skills (although the self-produced musician can't help but tweak the record often creating duets with himself). Even though this disc is all acoustic versions you still get to see the diversity in song writing that is indicative of Timb's self-described genre-hopping style, although I would say closer to genre-blending as Timb really combines all of his obvious influences and then laces them with his own quirky lyrics. One of my favorite aspects of this collection is that the songs are all personal with a lot funny moments. And I don't mean funny in the sense of a Weird Al but more of an absurdist humour. This CD (and Timb in general) reminds me a lot of John Hiatt, not necessarily in exact sound but more spirit, style, and just incredibly creative imagery created in the singers narrative. This record came out in 2006 and I'd definitely like to see at least one or two more releases like this but if this is the only one I can at least be thankful that I have it (and you should too). I also just love all of the artwork, especially the cover art. Favorite Tracks: Everything Girl, Interstate Love Song, Caffeine, Emo, Standing In An Open Parking Lot, Ballad of Bluebeard, Punk Rock, and Siamese Lullaby

Album a Day: Tying Tiffany - Brain For Breakfast

2010-06-19T20:40:00.000-07:00

Sometimes you just hear bands and say, "Ok, nobody here knows yet...BUT THEY WILL." I've spoken to people that claim to have been Emilie Autumn fans for years before she took off in the states. It doesn't always pan out exactly. For years when I've DJed clubs I've been playing Colony 5 thinking they were the next big thing and while people know them now, many seem like they could care less (which is a shame because I love Colony 5 and it generally does well on the dancefloor). If I had to bet on another horse it would be Italy's Tying Tiffany. Three albums out and today I'm just hearing her sophomore album Brain For Breakfast for the first time and I would bet she'll be a star here (although it would appear overseas she already is having opened in Europe for Buzzcocks, Iggy Pop, The Eels, Tiga, and The Rapture amongst others. What just strikes me as so interesting about this album is the diversity of sound while retaining a cohesive sound overall. It seems like there are strong elements all over the album that remind me of Le Tigre, Robots in Disguise, Battery Cage, Bratmobile, Hanin Elias (perhaps aided by the appearance on the album by Atari Teenage Riot alum Nic Endo), The Knife, Silversun Pickups, Pzychobitch, and even Siouxsie & The Banshees. I love each and every song on the album for different reasons and really enjoy the guest appearances by the aforementioned Nic Endo, Wolfgang Schrödl (Liquido), Umberto Palazzo, and Pete Namlook (who produced the track State of Mind). The best thing personally is that I bought this today for 2 dollars and had I heard it before hand I easily would have paid 10 times the prices (minus 5 dollars). I love the album, it's well-produced, and I would love to hear more from Tying Tiffany. Its also worth mentioning that this album is full of great punk-edged lyrics (see Easy Life). Favorite Tracks: Not a Shame, I Can Do it, Download Me, Satellite, Pazza, Slow Motion, and State of Mind

Album a Day: Fockewolf - Die Toten Weg

2010-06-18T21:28:00.000-07:00

Die Toten Weg is perhaps one of those great underrated albums that most people who could become fans may never hear by a band that few outside of Seattle have heard of in the first place. This is a shame because this 2000 release brought together three wonderful musicians with the bulk of the programming and vocals on certain tracks by Rob Wilhelm (Backandtotheleft), producing by Wade Alin (Christ Analogue), and the majority of the vocals by one of my favorite vocalists/people Severina Sol (Cylab, Diva Destruction). What I love about this album is the well-executed blending of electro-industrial and darkwave that balances out to something harsh but often beautiful. Often at times I would say the album feels very cold (in a good way) and yet Severina's haunting vocals have this ability to give that coldness a soul like encountering a ghost. The songs almost all have a great club appeal in addition to being something you can just listen to at home. The album is also full of macabre song titles with perhaps even more sadistic lyrics. If this album passed you by the first time then I highly recommend seeking it out. Favorite Tracks: Terror & Withdraw, Nihilistic Automaton, Murder God's Unrepentant Laughter, and Crematoria

Album a Day: The Mountain Goats - Heretic Pride

2010-06-17T18:45:00.001-07:00

The Mountain Goats are one of those bands I got into during my undergrad days in college while dating an indie rock girl. She would play The Sunset Tree and all of our film friends would sing along (and clearly I had no idea what was going on) so when that happens it can be hard because you mostly associate the band with a particular time in your life (and let's face it, you're a little late discovering a band around the point of their 14th album) but as time went on I continued to enjoy The Mountain Goats and explore older material on my own. I let the release of Get Lonely sort of pass me by but then in 2008 was the release of Heretic Pride and I was right there. This is a heartfelt album full of geeky references to authors H.P. Lovecraft and Sax Rohmer (creator of Dr. Fu Manchu) and several mythical beasts including lake monsters, swamp creatures, and Halloween's Michael Myers. There's also a song in tribute to the moon. How can you not love that? I think this is a really fun album, that's well produced and I understand the desire for something much more low-fi, but that time has come and gone for this band and I think it's good that John Darnielle can stay true to his sound without feeling he must cling to a certain recording quality. The flow of this album is really solid and of course the album must be listened to over and over to really get the full experience of Darnielle's narrative. Its definitely a positive tribute to The Mountain Goats' well of creativity to still be able to put out interesting and solid work after 16 (now 17 with 2009's The Life of The World To Come, though that is a different album for a different day). Favorite Tracks: Sax Rohmer #1, San Bernardino, Heretic Pride, So Desperate, Tianchi Lake, and Michael Myers Resplendent

Album a Day (EP Edition): Neuroticfish - Bomb EP

2010-06-15T13:29:00.000-07:00

Germany's now-defunct (as of 2008) Neuroticfish would certainly put a few years between releasing new material so you can imagine that there was a decent amount of anticipation for two years after 2002's Les Chansons Neurotiques when the first tease of new music came out with The Bomb EP (though between LCN and The Bomb, Neuroticfish, a.k.a. Sascha Mario Klein, did release a collection of remixes and rarities). This EP definitely plays largely to the DJ community with four versions of the title track including a single edit, an extended version, and two remixes but Klein also has a knack for appealing to the non-DJ/non-club portion of his base as well with three really strong b-sides. The main song The Bomb (based on a short story by a friend of Klein which is available on the European limited edition of Gelb) is a great club track with a compelling narrative. I prefer the Single Edit to the extended version but they aren't all that different, nor is the dub remix, but I did particularly enjoy the remix by O. Froning. What's also smart about the song is that Klein uses vocal samples but instead of using movies or television he uses computer dial-up sounds (not original but always appreciated) and his own vocals made-up like a sample giving the bands website EBMISDEAD.COM which for any club goer could attract them to the website if they've never been. I think what really makes this disc worth it (besides the single edit version of the main track) are the b-sides. The raw version of Suffocating Right (a new track from the then upcoming Gelb albumt that The Bomb was also taken from) is a heartfelt introspective song. You also have the previously unreleased No More Ghosts which is another fun track with just interesting sort of old-school sci-fi short story content and The Greek Symphony version of Care (another track that was previously unreleased before appearing on the first b-sides/rarities/remixes album Sushi) which is just absolutely beautiful. Klein always puts a lot of thought into releases so if it takes a few years then its certainly worth it (and I hope despite declaring the end of Neuroticfish in 2008 that since it has been a few years we see something new from this master musician). Favorite Tracks: The Bomb (Single Edit), The Bomb (Remix by O. Froning), Suffocating Right (Raw), No More Ghosts (Unreleased), and Care (Greek Symphony Version)

Album a Day: The Knife with Mt. Sims and PlanningToRock - Tomorrow, In A Year

2010-06-14T20:04:00.001-07:00

Tomorrow, In A Year had to have been a huge undertaking (I mean listening to Tomorrow, In A Year felt like a huge undertaking, and I mean that in a good way): an opera based on Charles Darwin's "On the Origion of The Species" and related other works including Darwin's journals, two pieces by Richard Dawkins, and works by Randal Keynes, Mark Ridley, Emma Darwin, and Edna Healey. Originally commissioned by Danish performance group Hotel Pro Forma as a live opera, The Knife enlisted the help of Berlin-based American DJ/performance artist Mt. Sims and artist PlanningToRock to help in the evolution (get it? it's a pun) of this epic piece and then later recorded it in the studio with more help from mezzo-soprano Kristina Wahlin Momme, Danish actress Lærke Winther Andersen and Swedish pop artist Jonathan Johansson. All that being said, this album (performance? work?) is genius. Darwin was not only a brilliant mind but wrote beautifully and eloquently about what would become one of the most seminal works in science so for The Knife to take that and turn it into music is not only admirable but wonderfully executed. The Knife can be known to already be experimental but this work really pushes more towards something like Godspeed! You Black Emperor with elements of what The Knife is known for all over it. Each song is a world unto itself and something you can get lost in. This two disc set also comes in a beautifully understated digipak with a foldout booklet (more like a map in a way). I also just appreciate that each songs takes its time to develop. There isn't a need to exist between the conventional 3-5 minutes but rather a range of some songs just over a minute to upwards of twelve. The album works really well as one piece or individual separate pieces and is a must have if you're a fan of any of the artists involved, Charles Darwin, science, experimental music, electronic music, whatever. Favorite Tracks: Intro, Geology, Ebb Tide Explorer, Variation of Birds, Schoal Swarm Orchestra, Annie's Box, and Colouring of Pigeons

Album a Day: Suzanne Vega - 99.9 F°

2010-06-13T23:55:00.000-07:00

You should at least once in your life have a job where you are either allowed or encouraged to play music because you will discover you like so many band and styles you were unaware of before. This was exactly the case in 2006/2007 when I worked at The Fetish Factory and we had a whole crew of people that were in to some pretty rad music (South Florida might have actually been one of my bigger growths in musical appreciation in general). Working at Fetish Factory is exactly where I discovered Suzanne Vega who was perhaps cool when I was a little too young to be aware of her but thanks to some excellent co-workers I was able to discover someone that may have otherwise passed me by. This 4th album from Santa Monica's Suzanne Vega is everything that was good about the early 90's. Vega took her signature sound and incorporated electronic elements (the much more 90's-industrial ones as opposed to the 80's-synth kind) and pushed beyond the ideas of conventional song-making while staying true to the folk-inspired sing/songwriter that made her popular in the first place. I love the mix of folk-style modern rock mixed with various tribal sounds. Sometimes the flow of the album is all over the place but you can at least appreciate the variety of styles she was trying to incorporate into the album. I also absolutely love the imagery and lyrical ideas on this album. Favorite Tracks: Rock In This Pocket (Song of David), Blood Makes Noise, 99.9 F°, (If You Were) In My Movie, and Bad Wisdom

Album a Day: Sahara Hotnights - Jennie Bomb

2010-06-12T13:26:00.000-07:00

No doubt about it that Jennie Bomb (the 2nd release for Sweden's Sahara Hotnights and named for band member Jennie Asplund) is a badass album. Sahara Hotnights 2001 release (2002 in the US) absolutely came out with guns blazing for a disc that is both unforgiving and fun. And how can you not appreciate an all-girl Swedish rock band? The short album (just over 32 minutes) has somewhat of a punk rock attitude with an almost early 90's alternative sound led by vocals that seem more forward than retrospective, though perhaps inspired by previous acts such as Joan Jett and Blondie but setting the tone for other bands such as The Sounds and Le Tigre (both bands formed years later from Sahara Hotnights, though gaining prominence in the same early 2000's time span). I think its also important to note that within the discography of Sahara Hotnights this is perhaps some of the more raw sound we here from the ladies. Jennie Bomb is well-produced, fast-paced, and sexy as hell (if you're into chicks that kick-ass as much as me). Favorite Tracks: Alright Alright (Here's My Fist Where's The Fight?), Fire Alarm, No Big Deal, Only The Fakes Survive, Out of The System

Album a Day: Wumpscut - Schädling (Limited First Edition)

2010-06-10T20:19:00.000-07:00

It can never be said that Rudy Ratzinger's :wumpscut: half-asses releases (especially after about a dozen releases, this falling in somewhere around number ten depending on what you or don't count in his massive discography as albums) as this Limited First Edition run of the album is content-wise no different than the regular release but the packaging is certainly something to behold with a beautiful parchment-style booklet and SACD (Super Audio Compact Disc) packaging (though the CD is not an SACD). The music itself on the album really shows the evolution of where the Wumpscut project has gone. The vocals are distorted and scratchy as usual but the music has really solidified to a yin-yang-sort-of style with the harsh vocals complimented mostly by playful lighter synths (although there are still plenty of heavy industrial beats to go along with it). What I like better about Wumpscut's harsh electro-industrial vocals better than most others is that they feel motivated. Ratzinger vocals project a persona that he has developed which IS Wumpscut. Wumpscut also isn't afraid to give the listener a healthy mix of dancier tracks (though nothing that panders to a dance-floor crowd) and slower painful songs that allow the listener to really live within Wumpscut's almost gothic-industrial motif. Favorite Tracks: Rusty Nails From Hell, Oh How It Feels, Foretold, Rifki, and Hard To Bear

Album a Day: Bile - Demonic Electronic (2002 Re-issue)

2010-06-09T22:52:00.000-07:00

Sometimes I don't want make love or have sex...sometimes I just wanna fuck and that's how I feel about listening to Bile. I love the Bile is dirty (even for industrial), aggressive, and just like fucking. The 4th studio album, Demonic Electronic, was originally released in 2001 and then re-issued a year later still as part of Bile-Mastermind Krztoff's Bilestyle Records but distributed by Martin Atkin's Underground Inc. with a KMFDM Remix demo, a Martin Atkins remix, a radio edit, a cover, and an original track replacing the four KMFDM remixes from the original release. What I particularly like about Bile's motif is that despite being completely abusive to the psyche there's still something fun about a lot of the songs which can sometimes be traced back to the tongue in cheek lyrics (and they range from vulgar to witty) or possibly just a really fun music that is covered in layer after layer of distortion. The album itself has a really great mixture of sounds (like different powertools, all aggressive but each other serving a specific function) and the extras are all really cool as well, especially the previously released cover of Alice Cooper's Clones (We're All) and the KMFDM Demo Remix of Teknowhore. Favorite Tracks: The Devil's Bile, Legion, Celebrity, Bad Karma, Demons, Clones (We're All), Jerk (Atkins Diet Mix), and Teknowhore (KMFDM Demo '93)

Album a Day: The Birthday Massacre - Violet

2010-06-09T15:31:00.000-07:00

Love The Birthday Massacre. In general TBM just has a great 80's sensibility that's updated with a strong industrial influence and though there's something so familiar about their sound (perhaps because of those elements) they are able to generate their own unique sound. I love this sophomore album from them which includes reworked versions of songs from their first album essentially making this a re-debut of sorts. Not a bad track on the CD and though there is a consistent sound from start to finish there are certainly tracks that throw in other elements such as the classic electro-industrial-style vocals on Blue. My only criticism is that sometimes the production sounds a little full and like a wall of music being played at you but the energy of the album is great and every song is fun. A great mix of playful and heavy and interesting lyrical content. Favorite Tracks: Lover's End, Happy Birthday, Horror Show, Violet, Video Kid, and Holiday

Album a Day: The Crüxshadows - Wishfire

2010-06-09T15:20:00.000-07:00

This fourth album from Europe's favorite American goth/industrial band might be my favorite perhaps because I had just begun DJing when it came out but I think it may just have to do with the timing in the bands evolution as they held over a lot of the slower darkwave they started with and began moving towards the much more electronic sound the band has become accustomed to and so you have a great mix of sounds. This album is also one of only two with my favorite lineup from the band with Rogue, Rachel McDonnell, Stacey Campbell, and Chris Brantley. This album also adds in nice smaller touches such as minimal but well placed moments such as the video game sound from Return (Coming Home), the Rogue duet on Tears, and the tasteful Martin Luther King Jr. sample on Resist/R. Speaking of Resist/R this 2002 album also continued the band's trend towards pushing for tolerance that may seem like preaching to the choir in the scene they are in but I think any band that attempts to continually push acceptance should be applauded. Really nice production and beautiful cover art. As a band of the band I also always appreciate the beautiful fantasy imagery that is constructed while maintaining a foot in reality as to help with relatability. Favorite Tracks: Return (Coming Home), Binary, Spectators, Tears, Orphean Wing, Resist/R

Album a Day: Charles Manson - LIE: The Love and Terror Cult

2010-06-09T15:12:00.000-07:00

Yes, THE Charles Manson recorded an album years prior to any convictions (though released at the beginning of his trial). LIE: The Love and Terror Cult is such a simple album with mostly just Manson, a guitar and very folksy songs with simple subjects and yet all the simplicity and of course Manson's non-musical actions make this such a complex album. In fact there's something very existential about the album, a reflection by one of histories most notorious figures. The production is rough and yet that to me is also one of the selling points of the album as there's just something so real and genuine about it. The album also has a nice back and forth between more bluesy songs like People Say I'm No Good to less traditional tracks like Don't Do Anything Illegal (and you have to appreciate a title like that). Favorite Tracks: Look At Your Game Girl, Mechanical Man, People Say I'm No Good, Home Is Where You're Happy, Garbage Dump, and Eyes of a Dreamer

Album a Day: Jason Webley - The Cost of Living

2010-06-09T14:48:00.000-07:00

Jason Webley is charming and passionate and those are two themes that I think come across in his music and on this fifth album by one of the mosters of accordian. This is an up and down great album where Webley really shows off his talents. What I find particulary interesting about this album (and perhaps his music in general) is that he's able to touch on these slightly different stylistic modes while retaining his own general sound. Some of this can be attributed to the music being an amalgamation of styles including gypsy, folk, shanty, etc. that is in the same realm but often has different approaches (and instruments can vary as well). Webley's background in punk should also be taken in to account as giving a distinct feel to what he does (in addition to just Jason Webley being Jason Webley). The Cost of Living has beautiful artwork (both on the cover and inside of the digipak (and I love digipaks), great flow, quality production and overall is fantastic (and I recommend seeing Jason Webley in concert if you can). Favorite Tracks: Ways To Love, Almost Time To Go, Disappear, Raise Them Higher, and There's Not a Step We Can Take That Does Not Bring Us Closer

Album a Day (Digital/EP Edition): How To Destroy Angels - How To Destroy Angels EP

2010-06-09T14:42:00.000-07:00

A month before its official release I was able to experience the debut EP from supergroup of Trent Reznor, his wife Mariqueen Maandig, and Atticus Ross, How To Destroy Angels (taken from the name of Coil's debut EP) free courtesy of th...eir website (although guaranteed I will be buying this on CD when it comes out). This is a really exciting debut, if you can say that band with this much talent and experience can really have a debut anymore. Reznor and Atticus are also certainly no strangers to supergroups or collaborations having both contributed to a number over the years. Five of the songs are just great sort of trip-hop/industrial that really reminds me of Collide, and the fifth (Fur Lined) is basically just a fun electro song (which actually breaks up things rather nicely). Of course the production is great as is to be expected and I love Maandig's vocals. If you can still download this free off the website then I recommend doing so but either way definitely pick it up in July when it drops as I'm sure it'll be full of some of other goodies by then as Reznor is now known to do. When this band tours I definitely plan on going (and how can you not love a band with such a great name). Favorite Tracks: A Drowning, The Believers, and Parasite

Album a Day (EP Edition): Aerodrone - Sceneboy EP

2010-06-09T14:35:00.000-07:00

Gary Zon knows how to write music as has already been evidenced by his industrial project Dismantled. So what happens when a fairly young guy decides to put his industrial toys on the shelf for now and pursue other interests? Well you get something a little less dark, a little more fun, and certainly something interesting (I wish more people in bands would decide to have side projects that are so different). Of course it took several lineup changes, and two previous EPs that were at best ok but there's not a bad track on the four song EP and 15 minutes will leave you wanting more of its hipster-inspired electro-goodness. I've linked to the digital version on amazon but I have a physical copy and Aerodrone's website indicates you can get a mini-CD copy in a NES Cartridge Case (although the first time I got one of those was back in 2003 when sent me the Etherblister EP, but still cool none-the-less). Favorite Tracks: Sceneboy and Hold Me Like a Microphone

Album a Day: My Ruin - The Horror of Beauty

2010-06-09T14:33:00.000-07:00

You have to respect My Ruin's Tairrie B who started as a rapper mostly notably under the study of one of the greatest in NWA's Eazy-E before she ultimately switched gears to focus on metal. This 2003 junior (not small but rather 3rd) album from My Ruin is just a great piece of metal and I always love when the ladies join in on the screaming. The Horror of Beauty is an aggressive album, that I think really helped cement the sound and image of the band who over the years has gone through many lineup changes with only Tairrie B and guitarist Mick Murphy being the consistent members (and now they're married, so there's that). I think its a badass album and I'd really like to see My Ruin and Hanzel und Gretyl tour together as I think they could share a similar fan-base if they don't already. The album also includes a not so great music video for Made To Measure so try to ignore that and just enjoy the rest of the album. Favorite Tracks: American Psycho, Radio Silence, Stinkface, Ten Minutes To Hollywood, and Get Pretty

Album a Day (Unconventional Edition) Throbbing Gristle - Gristleism (Red)

2010-06-09T14:31:00.000-07:00

A China-based music duo came up some years ago with a device called the Buddha Machine which is basically a toy box that plays a number of droning loops on repeat to the effect of calming. Throbbing Gristle must have said "fuck that" when coming up with their own modified version called Gristleism featuring 13 loops and their own addition of a pitch-shifter. This device is absolutely fun and stimulating to listen to either actively or just in the background. A lot of the tracks really remind of certain films including David Cronenberg's Naked Lunch. Not only are all the tracks great as is but the pitch-shifter really allows you to find your own favorite ways to listen to each track (and some of them go from insane to frightening). The design is really cool as well coming in either red, black, or chrome (I have the red one) and comes in really excellent ornate packaging. What's really nice about this is that it just shows how Throbbing Gristle continues to innovate and push the boundaries of sound. I only got this a few days ago but I can already tell I will listen to it constantly for a long time to come and if nothing else it makes a great conversation piece and decoration. Favorite Tracks: Persuasion, Twenty Jazz Funk Greats, Maggot Death, Rabbit Snare, Sex String Theory, and Heathen Earth

Album a Day: Cex - Sketchi

2010-06-09T14:09:00.000-07:00

Limited to 1000 copies (mine is number 580), 2007's Sketchi would represent the more ambient/experimental side of Ryjan Kidwell's Cex. I really enjoy this album as a nice chillout/thinking kind of album that also has complexities, rich soundscapes, and depth. The eight songs are all easy to get lost in and each one takes time time to develop and exist with the shortest track being 5:41 and the longest at 10:25. Kidwell's style is complimented nicely with appearances by wife Roby Newton and Cale Parks (Joan of Arc and Aloha). I also always appreciate Kidwell's sense of humour as shown on the cover which is a take on the poster for the the movie Twins. Favorite Tracks: Rattler Bin, Camber Sands, Oregon Ridge, and God Blessing

Album a Day: Amanda Palmer - Who Killed Amanda Palmer

2010-06-09T14:03:00.000-07:00

What continues to impress me about Amanda Palmer is her ability to make music using very traditional methods while coming off as one step ahead of everyone else. I think this solo collection is great and as much as I love The Dresden Dolls its nice to see Palmer put songs out there that don't necessarily fit in to that sound (songs that certainly shouldn't be lost to the world). Amanda Palmer doesn't half-ass anything (as seen in her live shows) and you can really hear the fruits of her labour materialize. The sounds are beautiful, heartfelt, whimsical, and in your face. I also love the cover art and the nod to Twin Peaks. Also, despite the controversy and seemingly universal agreement that Oasis is not a good song (because of its upbeat nature in contrast to its taboo subject matter) I think its one of the best on the album and I applaud Palmer for not fulling any punches (as can also be witnessed in her battling with Roadrunner Records over her video for Leeds United that eventually led to her requesting a release from the label). This debut album is also aided by great appearances from Ben Folds, Zoë Keating (ex-Rasputina), Strindberg, East Bay Ray (Dead Kennedys), Annie Clark (St. Vincent), Paul Buckmaster providing string arrangements on several songs and even future hubbie Neil Gaiman providing the liner notes. I recommend picking up the physical copy but make sure to download the itunes/amazon exclusive tracks Guitar Hero (Alternate Version) and Leeds United (Lounge Version). Favorite tracks: Astronaut: A Short History of Nearly Nothing (ft. Zoë Keating and Ben Folds), Runs In The Family (ft. Ben Folds), Ampersand (strings arranged by Paul Buckmaster), Guitar Hero (ft. East Bay Ray and Ben Folds), What's the Use of Wond'rin? (ft. Annie Clark of St. Vincent; from Rodgers and Hammerstein's Carousel), Oasis (ft. Ben Folds and Jared Reynolds), and Leeds United (Lounge Version) (itunes/amazon MP3 exclusive)

Album a Day: Goldfrapp - Head First

2010-06-09T14:00:00.000-07:00

This is maybe one of the best new albums I've heard in a long time. To me this was like listening to Echo Image's Compuphonic for the first time, not a track on this album I dislike and I'm really glad to see them return to something more fun with this fifth album after the more somber Seventh Tree (not that that isn't a quality album itself). I absolutely love the Xanadu influence that's so fitting with their previous visit to the work of Olivia Newton-John (see their track UK Girls (Physical) a rearranged version of her song Physical on the Utopia (Genetically Enriched) EP). The whole album has a great mix of 80's sounds (and imagery as indicated by the cover art) and I could see easily listening to it over and over. Favorite Tracks: Rocket, Alive, Dreaming, Head First, Hunt, and I Wanna Life

Album a Day: Depeche Mode - Sounds of The Universe

2010-06-09T13:58:00.000-07:00

I'm not sure how Depeche Mode continues to stay relevant after 30 years (29 at the time time of the release) and twelve albums, but they do and in a very big way (although they certainly haven't been without friction). This is another solid effort by the boys from Essex and if you haven't seen the video for Wrong then you are missing out. This album brings back a little something darker that certainly pleases a large portion of the DM audience. Production and flow as always are tight and I'm glad that in this day an age of people largely listening to music digitally that Depeche Mode still treats us with a short and sweet secret track at the end of the album. Also, really nice cover art by Anton Corbijn. Favorite Tracks: Wrong, Fragile Tension, In Sympathy, Peace, and Jezebel

Album a Day: Client - City

2010-06-09T13:47:00.000-07:00

Kate Holmes and Sarah Blackwood, the electropop band Client, might be the UK's best kept secret (well, except to the Germans). Easily as talented as Ladytron or Goldfrapp, this uniformed duo has gained some more ground in recent years with a 2006 release on Metropolis (although still no American distribution for 2009's Command) but one should not forget the amazing sophomore album, City. This was my personal introduction to the band and it might still be my favorite album of theirs with guest appearances by Martin L. Gore and The Libertines' Carl Barat and Pete Doherty. Producer Joe Wilson does a great job on production (and a guest vocal on It's Rock and Roll). The songs are fun but heartfelt, there's great reflective moments, and overall the album has a logical flow to it. I would love to see the duo team up with Robots In Disguise either for a tour or better yet some sort of collaboration (or at least a few remixes traded back and forth). Favorite Tracks: Radio, One Day At a Time, Pornography, The Chill of October, and Don't Call Me Baby

Album a Day: Zeromancer - The Death of Romance

2010-06-09T13:45:00.000-07:00

Zeromancer was one of the first bands I was drawn towards when getting into industrial music. I've always found that in some ways they often just exemplify a sound (although always at least slightly different from album) without really pushing the boundaries of and yet I'm always intrigued and always pleased. This fifth album from Norway's Zeromancer is like vanilla yogurt. I know what vanilla yogurt tastes like, it's not blowing my mind and yet I am feeling satisfied. Its also interesting at this point to really follow the journey of the band from album to album: Clone Your Lover is very industrial influenced hard rock like Orgy or Coal Chamber Then they move on Eurotrash which encorporates more synths, gets club friendlier, more club industrial-style. Zzyzx was much lighter, perhaps a little more mainstream sounding and then Sinners International pulled back a little bit into the EBM/Electro-Industrial direction. I think this album The Death of Romance really engages with all of those sounds and mixes in a bit of goth as well. Really nice effort by a consistent band. Favorite Tracks: Industrypeople, The Death of Romance, Revengefuck, and The Plinth

Album a Day: Schwein - Schweinstein

2010-06-09T13:28:00.000-07:00

Alright, so let me paint the picture for you. The year is 2001, KMFDM has been caput for about 2 years and given way for the former frontman Sascha Konietzko to temporarily form MDFMK in its stead (although KMFDM's resurgence at this point is on the horizon), its also been about 2 years since the last PIG release for Raymond Watts. PIG has a large following in Japan and Japanese legends Buck-Tick have just released their first album in about 4 years and are starting to gain notoriety overseas. Let's form a super group and call it Schwein! (seems like Raymond Watts idea). This is a hard to get CD because its a Japanese Import (I mean hard unless you happen to live in Japan) but just fuckin solid. If you like any of the players involved then this is definitely a disc to pick up as everyone puts their stamp on this album. Now, don't get your hopes up because its not necessarily better than the albums put out by the other bands and certainly not any kind of second coming, however, if you like industrial music and you either have time or money then this is one to get. It's heavy, fun, dirty, basically what you would expect. There aren't any real standouts tracks but the whole thing is a great listen. Even though its 9 years later I wish some one would decide to give this an American release, although you have to figure that given their is KMFDM Records perhaps their are legal issues that prevent such a thing from happening. Favorite Tracks: Crown, Lard Lips Liqour, Organzola, Schwein, Slip, and My Sanctuary

Album a Day (Boxset Edition): Various Artists - Black Box - Wax Trax! Records: The First 13 Years

2010-06-09T13:25:00.000-07:00

The first thing that should be mentioned about this almost definitive tribute to one of the most influential record labels of all time is the amazing work that was put in to booklet of this release. You get a nice short version of the history of the record label with an emphasis on the bands themselves accompanied by great pictures and nice little additions like hate letters, all the things people have thought KMFDM stood for, and little yearbook style love notes from the people that were there (musicians, club managers, music journalists, label employees, everyone). As for the content you get a great three discs of some of the greatests songs to come off the label that tries to cover a few songs from some of the more influential bands, at least one song by the majority of the bands to be on the label, rarities, etc. Some one also put a lot of thought into placement of the songs and its much appreciated. The only thing sadly missing from this release are any Front 242 songs because of legal troubles with Epic Records who had at that point acquired the 242 catalogue. Something about reading the book and listening to the discs gave me a feeling of something as close to a documentary without being on film as possible (although I hope someone does make a proper documentary about Wax Trax! Records at some point). Favorite Tracks (and there are a lot of them): Disc 1: 1000 Homo DJs - Supernaut (Trent Reznor Vocal Version), Revolting Cocks - Beers Steers and Queers (12" Version), Sister Machine Gun - Addiction, Excessive Force - Violent Peace, Pailhead - I Will Refuse (12" Version), Front Line Assembly - Digital Tension Dementia, Greater Than One - Now Is The Time, PIG - Shit For Brains, Hope & Kirk - Cop Out Disc 2: Chris Connelly - Come Down Here, Coil - Love's Secret Domain, KMFDM - Virus (12" Version), KMFDM - Godlike (12" Version), Ministry - Everyday Is Halloween (12" Version), A Split Second - Rigor Mortis, Doubting Thomas - Father Don't Cry, Controlled Bleeding - Words (Of The Dying) Disc 3: Acid Horse - No Name, No Slogan (12" Version), The KLF - What Time Is Love? (12" Version), Psykosonik - Silicon Jesus (Duality Mix), My Life with The Thrill Kill Kult - Do You Fear (For Your Child), Psychic TV - I.C. Water, Divine - The Name Game (7" Version)

Album a Day: Atari Teenage Riot - Burn, Berlin, Burn!

2010-06-09T13:23:00.000-07:00

Though not technically an album, Burn, Berlin, Burn! is considered to be a compilation of their first two albums (1995 now called Delete Yourself! and The Future of War), this was the introduction of American audiences to Atari Teenage Riot by The Beastie Boys' label Grand Royal. This album is punk as fuck and yet substitute the regular array of instruments you would see on a punk album and replace them with all things electronic. Sometimes its hard to have a dirty, gritty sound when using electronics and yet here it is. To me this album is the same thing you see when you watch a new film coming out from Brazil and you're like "Oh shit, this is all new wave just like when the French were doing in the 60s", which is to say that conditions breed similar circumstances in different areas. Punk was born in America and England at a similar time because of similar circumstances arising (which can usually be traced back to WWII), it just took Germany longer to get there (perhaps again because of WWII). But whatever the circumstances this is a fast-paced, well thought out, grouping of songs from a band of Berlin misfits. This is a great introduction to Atari Teenage Riot and you would be wise to pick it up (plus you have to like a band that has at least one song named after them). Favorite Tracks: Fuck All!, Sick To Death, Destroy 2000 Years of Culture, and Atari Teenage Riot

Album a Day (Compilation Edition): Various Artists - Saturation Bombing 2

2010-06-09T11:57:00.000-07:00

This compilation of bands was released in honour of a noise/industrial festival that took place in Toronto, Ontatrio, Canada in 2004 and is just a really solid assemblage of bands. What I particularly like about this release is that you get a nice mixture of powernoise, tribal, ambient, and experimental bands with a variety of live tracks, remixes, or exclusives that you may not hear elsewhere. For me it was also a really great introduction in to some bands I had no idea existed. From a promotional stand point it certainly made me want to see these bands too (I've already seen Iszoloscope and C2 and they both put on very compelling shows). Favorite Tracks: This Morn'Omina - Uraeus [lcf] (Live @ CC Luchtbal), Pneumatic Detach - The Zodiac (October Rmx), Larvae - Fashion Victim (Remix by Censor), C2 - Crowd Control (Saturation Mix), Iszoloscope - Once The Inferno (Resaturation), Empusae - Ankou (Live at Maschinenfest 2001), and Liar's Rosebush & Scrap.Edx - Collect (Scraps)

Album a Day: Wolfsheim - No Happy View

2010-06-09T11:55:00.000-07:00

Debut album from beloved german synthpop/EBM band Wolfsheim. Great album with fewer of the more well known Wolfsheim songs, however it also happens to feature one of my favorite songs: The Sparrows and The Nightingales. What I find particularly interesting about this album is that it was released in '92 and yet doesn't at all feel dated. I think you can really make a strong case that this album was one of the top sounds to help set the tone of synthpop (and what EBM would later become) for the next decade (also see De/Vision for that). Favorite Tracks: ...Can Manage... f/Marlon Shy, It's Not Too Late, and The Sparrows And The Nightingales

Album a Day: Nouvelle Vague - Nouvelle Vague

2010-06-09T11:51:00.000-07:00

I am in love with Nouvelle Vague and this is the album that started it all. I mean how great a concept: take two great musician/musical arrangers in the form of France's Olivier Libaux and Marc Collin, add amazing female vocalists (including my favorite Melanie Pain), make cover songs of new wave, punk, post punk, goth, and new romantics songs, give it a bossa nova/lounge style twist and you get perfection. All the albums are great but there's something about this first one that has always just resonated with me perhaps because the same reason you just love Breathless or Hiroshima Mon Amour, on top of amazing they came first. What's great is that the album also maintains a wonderful balance of vivid energy, relaxing bliss, and just something clever. Favorite Tracks: Love Will Tear Us Apart, Just Can't Get Enough, In A Manner of Speaking, This Is Not A Lovesong, Too Drunk To Fuck, I Melt With You, Friday Night Saturday Morning

Album a Day: Vittorio Vandelli - A Day of Warm Rain In Heaven

2010-06-09T11:46:00.000-07:00

Fucking Italians. Vittorio Vandelli of Ataraxi took S.T. Coleridge's The Rhyme of the Ancient Mariner and said, "Ya know what? I'm gonna make this in to a goddamn Neo-classical album." and he did a beautiful job. It's important to listen to intelligent music because it makes you smarter and for that I say "fucking Italians". This is just a beautiful album by a great guitarist/composer taking more traditional music and throwing in synths for moments of something new with something old (and check out the great guitar solo on 'I Killed The Albatross'). Please pick up this 2004 album by a master at his craft and just lie back and think. Favorite tracks: Farewell Farewell Thou Wedding-Guest, The Ocean Green, A Sadder and A Wiser Man, The Curse In a Dead Man's Eye, A Day of Warm Rain In Heaven, and I Killed The Albatross

Album a Day: Mindless Self Indulgence - If (UK Edition)

2010-06-09T11:44:00.000-07:00

With the release of each album I just think the music of MSI becomes more and mature (although I'm not sure that can be said about the subject of the lyrics but would you like them if they changed that?). Each song has catchy elements while mainting an attitude that's a fuck you with a smile and a tongue sticking out just a little. I do think though that MSI has sometimes become more subtle and perhaps a little more witty than in the past so I can certainly appreciate that. I think it's also interesting that even though they've left Metropolis after a short stay they continue to use a lot of industrial bands for remixing and certainly welcome. And MSI is certainly a band that knows how to milk their fans (or is it feed) with singles, remix EPs, clean versions with bonus tracks, and international versions with more bonus tracks but it's definitely worth spending the extra to get the UK version of If as it contains the better tracks from the Never Wanted To Dance EP plus two other bonus tracks and I just think the burgundy and gold makes a nicer looking cover than the black and white with red splatter. Favorite tracks: Never Wanted To Dance, Evening Wear, Lights Out, Prescription, Uncle, Never Wanted To Dance (The Birthday Massacre Remix w/guest vocals by Chibi), Never Wanted To Dance (Electro Hurtz Mix by Combichrist), and Never Wanted To Dance (Tommie Sunshine [TSMV] Remix)

Album a Day: Violent Entity - Mechanized Division

2010-06-09T11:42:00.000-07:00

Not sure what ever happened to Damien Drullinger's Violent Entity but if nothing else he can say that this really solid old school EBM-style album was put in to the world. For the last decade at least there has been a slew of electro-industrial/terror EBM/whatever you want to call it and some of the bands are good and some are not but a lot of them just feel sterile and what I particularly like about Mechanized Division is that the album feels a little bit dirty and creates a real moodiness that got me in to that scene in the first place. The album includes two really nice remixes at the end by two of the other finer bands in electro-industrial: Battery Cage and Supreme Court. Favorite tracks: Cold As Ice, Mechanized Division, Select The Victim, In The Darkness, and Cryogen (Mix by Battery Cage)

Album a Day (EP Edition): Regina Spektor - Live At Bull Moose

2010-06-09T11:40:00.000-07:00

At about 16 minutes you would think this small performance from anti-folk superstar Regina Spektor but I can tell you its a wonderful thing to listen to even if just for a moment. This EP was recorded at a small record shop in Maine where apparently they dragged in a grand piano between aisles and people gathered around and quietly sat on the floor. This is just a beautiful quick burst and absolutely worth picking up. It's also amazing how great live recordings have gotten because you get the live energy between songs but during the songs it could have been recorded live or in the studio (and this was recorded in 2005). The EP starts with Spektor singing sans piano on "Ain't No Cover" and just showing off what a lovely voice she has. I love Spektor's singing style because each inflection of her voice really conveys a strong idea. The next three tracks are all with piano and include one live version of a song from her album Soviet Kitsch (Carbon Monoxide), the next two seem to be songs that don't appear anywhere else: Pound Of Flesh (witty song about Ezra Pound) and The Noise. Finally the EP finishes out with a great medley. Favorite Tracks: Carbon Monoxide, Pound of Flesh, and My Man (Medley)

Album a Day (Soundtrack/Digital Download Editions): Sunshine: Music From The Motion Picture

2010-06-09T11:38:00.000-07:00

What a strong soundtrack that almost didn't happen. Shortly after the film's release (favorite film by the way) there were legal problems and it seemed the soundtrack wouldn't be released. Eventually it was released as an itunes exclusive so if you want to have it then that's the only legal way but then again you get it digitally and it's only 10 bucks and completely worth it. Danny Boyle is the king of soundtracks and the score for this film is no exception with tracks mostly provided by eletronic legends Underworld and outstanding composer John Murphy, often with the two collaborating and then a single track by I Am Kloot that doesn't really fit the rest of the motif but is a great song and is featured in the credits so it's not like it disturbs the rest of the film. This soundtrack/score is highly emotional, completely fitting for the film without distracting, great to listen to on its own, just A+ all the way. Favorite tracks (there's a lot of them): John Murphy - Welcome To Icarus II, I Am Kloot - Avenue of Hope, Underworld - Capa's Last Transmission Home, John Murphy - Kanada's Death, Pt. 2 (Adagio in D Minor), John Murphy & Underworld - Pinbacker Slashes Capa, John Murphy - Capa Suits Up, John Murphy - Sunshine (Adagio in D Minor), Underworld - Capa Meets The Sun (To Heal), Underworld - Peggy Sussed

Album a Day: ThouShaltNot - The White Beyond

2010-06-09T11:34:00.000-07:00

It's fairly difficult to label Pittsburgh's ThouShaltNot except pure poetry. Just great feeling this album and you can honestly hear a passion in Alex(x) Reed's voice without resorting to anything overly dramatized. The album has nice ups and downs and with amazing genre blending offers a few nice club tracks, some great sit down and reflect songs, and even a sense of humour and whimsy (how many bands can you really say are whimsical these days without going in to "ironic"?). Favorite tracks: Inside of You Inspite of You, Cardinal Directions, We Could Have Flown Like Pollen, The Ocean is Your Voice, and Trial By Fire

Album a Day: Dismantled - PostNuclear

2010-06-09T11:31:00.000-07:00

This is a perfect example of what I love about Dismantled. It's easy to listen to a lot of electronic music that's tailored for the club and I'm not saying I don't adore some of those songs but often times it feels like they put in about five minutes of work and called it a day. When you listen to this album you can tell that is far from the truth. There's thought put in to ever beat, every word, there's movements within the song. On the aestethic side there's a great ebb and flow beat the really harsh very intense moments and the lighter side that gives a moment of breathing room and reflection. And as much detail is put in, I never feel like the album is overproduced. I would easily put this in my Top 10 industrial albums of all time. Favorite tracks: Backwards, The Swarm (favorite track on the album), Had a Life, Exit, and The Last Excuse

Album a Day: Robots in Disguise - We're In The Music Biz

2010-06-09T11:28:00.000-07:00

Dee Plume and Sue Denim make up one of THE best electro bands period and if you didn't hear it with the the first two albums then they are shouting it as demonstrated by the album cover. Nearly 34 minutes is quite a short album but it absolutely smashes you in the face with energy. It's almost as if the ladies have made it their civc duty to punch you in the face with goodness with interesting musical content, danceable beats, and sex appeal for the man and nerd in me. It also has excellent production thanks to Chris Corner (IAMX, Sneaker Pimps) and is over way too fast (always want them leaving more. Favorite tracks: We're In The Music Biz, The Sex Has Made Me Stupid, I Don't Have A God, and Don't Copy Me

Album a Day (DVD Edition): Laibach - Volk Dead In Trbovlje

2010-06-09T02:09:00.000-07:00

This is one of the best live DVDs I've watched. First of all, until I go back to Laibach I forget how much I really love them, but this is them at their finest. The focus of the DVD is a live show played in Trbovlje, Slovenia, the industrial town birthplace of Laibach. The majority of the show is a live rendition of their most recent album Volk (a concept album of rearrangements of various national anthems). Some would see this as a downside when a band plays one newer album but I think that album is genius and was quite happy to see it performed live. They do follow this up with several songs mostly from their 2003 album WAT (also a good album). The show is great and has a really nice intimate atmosphere as it's played in a small theatre with a seated audience and contains stunning visuals which as a bonus you can actually watch separately with the CD recordings of the tracks. The DVD also contains a nice 11 minute montage of tour footage. Favorite live tracks include: Germania, America, Anglia, Rossiya, España, Yisrā'el, Nippon, Tanz Mit Laibach, and Achtung!

Album a Day: Gravity Kills - Perversion

2010-06-09T02:07:00.000-07:00

I feel like there a simplicity to 90's industrial rock that just feels missing today. I'm not saying there aren't plenty of great industrial bands now but most of the ones that kick ass now were kicking ass in the 90's. This is just an album that rocks and appeals to both the industrial and metal fans in me. This third album would mark the end for about 4 years until Superstarved (the previous albums were only about a year apart each). There seems to be a lot of pain in this album and some great singles. Favorite tracks: Falling, If, Crashing, Disintegrate, and Belief (To Rust)