This one is the awesome latest of Prince Harry, the infamous Synth Punk duo from Liège aka Toxcity.
Comes with an astonishing eyestabbing artwork by Mr Elzo Durt, as usual!
Now PlayingTime Zone - World Destruction ( 12inch - World DestructionTune In     Song History
|
Led by Seb Normal and Lilly, central figures of the Grand Triple Alliance Internationale Of The East, wringing the roads of France in a duo, they are now four, joined by 2 live machines, Quentin on the drums et Cheb Samir on the guitar. The compositions are beefed up in a dense but high in relief album.
FORGET was recorded during a period of epic productivity for Xiu Xiu. While writing FORGET, they released the lauded Plays the Music of Twin Peaks, collaborated with Mitski on a song for an upcoming John Cameron Mitchell film, composed music for art installations by Danh Vo, recorded an album with Merzbow and scored an experimental reworking of the Mozart opera, The Magic Flute. All of this frantic, external activity lead to a softly damaged dreaminess and broadened intent that has not been heard before in other Xiu Xiu works. Standout track, “Wondering” is one of the catchiest boogie pop gems in the Xiu Xiu catalog, but like much of FORGET, it still bears an underlying tension that manifests differently in each piece. From the haunted guitar duet of “Petite”, the hilariously fraught lyrics of “Get Up,” the advanced industrial boxing match of “Jenny GoGo,” or the experimental goth explosion of “Faith, Torn Apart”, all the songs, in their own ways, build to a roiling boil of a fate in vanishing. The calligraphy on the cover translates literally to “we forget.” It bows to the universality of everything and everyone’s inevitable decline and foggy disappearance. Regarding the album title, Xiu Xiu singer Jamie Stewart said, “To forget uncontrollably embraces the duality of human frailty. It is a rebirth in blanked out renewal but it also drowns and mutilates our attempt to hold on to what is dear.” FORGET is both the palliative fade out of a traumatic’s past but also the trampling pain of a beautiful one’s decay.
Oliver Chesler better known by his stage name The Horrorist, is an electronic music artist from New York. He is the owner of the Things to Come Records. He has live performances all around the world but a hotspot is Germany. Many remember him as the punk styled kid in D.A. Pennebaker’s concert film “101″, featuring Depeche Mode. Limited edition 7″ inside an astonishing motional effect artwork sleeve.
From completely opposite cultural backgrounds, one is the son of a rich German industrial man and the other of a craftsman, Hans and André meet early in highschool. Their mutual love for Bowie and Kenneth Anger pushes them to flunk school and smoke in their tiny school movie room. There they dream of an ideal future, made of space travels and industrial music. Feeling the pressure from this private institution, they eventually decide to go to Berlin and see what taste has decadence there. They meet Marianne Katza, an eccentric woman who tells them to come to an artist squat in Mitte district. As Warhol’s Factory, the place is an indistincte magma of ideas, musics and drugs. Here, as André begins to fiddle with a korg ms20 synth (he never told where he found the money to afford it) and dreams of exquisites performances, in another room, Hans tries to write his wildest nightmares to exorcise them. Marianne decides to introduce the future band to one of her lovers: Marc Berron, a young arrogant and rich kid blessed with a perfect ear. He helps them to slow down their drugs issues and take a new direction: to play a cold and personal music in pop format but with a feeling of urgency which characterized young Berliners. So he kidnaps them in his own studio for several weeks to experiment, give feelings and eventually find Violence Conjugale’s ultimate sound. |
