Here’s the first album from Synths Versus Me, a band of Minimal Synth / EBM / Cold Wave from Lloret de Mar, Catalonia (Spain). Following this digital release, a limited edition of 100 copies on 180 gr. vinyl is announced for late September 2015.
Tune In     Song History
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At last mankind was joined under one standard. The United World Alliance had established itself as the ultimate authority on the planet. No more borders. No more wars. We learned to worship the satellite weapons orbiting over our heads. Our angels in the sky. Keepers of the peace. Until the resource crisis came. There were simply too many of us for the planet to sustain anylonger. The outbreaks started without warning and death washed over the earth like a biblical plague, leaving billions of corpses in its wake. The great plague had been engineered by our benevolent leaders… none other than the UWA. Enraged, the population of the world united and we rose against them, determined to wrench the cure from their bloodied hands. Determined to make them pay for their callous omnicide. But we didn’t stand a chance. We had forgotten how to make war. They unleashed their automatons against us and we were slaughtered like cattle. The remaining world was nothing but pain, slavery, and death. We abandoned hope, we had no future. But a prototype slept deep in the wastes that could destroy the UWA. Something they feared so much they tried to wipe it from existence and memory. S.C.O.M. went online and from the scorched expanse came a horde of flesh and steel that laid waste to the drones. The next stage in human evolution had risen from its sleep… man and his technology… weaponized… one. The Cyborg was born. Does this new force of destruction come to liberate us? Or bring us doom? In the burning skies the trumpets of the final judgement sound, and the music they play is Music For Cyborgs.
“Live At Maldoror: Volume One” cassette featuring board recordings of nine performances at Maldoror during 2014, including Bad News, High-Functioning Flesh, Body of Light, INHALT, Burial Hex, Victor Portsmouth, Some Ember, Window and Business Etiquette. Pro dubbed cassettes with cardstock j-card.
Pure Ground is a human electronic duo from Los Angeles. Their latest LP, Standard of Living, is nine songs of esoteric strife. Industrialized minimal wave in the form of an electrical storm.
In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother’s apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn’t help but notice the disconnect between the glow of his grandmother’s temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics, aging transgender prostitutes, and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared – there was a nobility in their failure, reflective of the dignity of the city’s vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb’s musical podium for this undertaking. Raised in a music-centric household, Deb would find the time to teach himself to play his father’s right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past. Influences range from the virtuosic arpeggiated guitar work of Felt’s Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry’s Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy’s falsetto reflecting the sepulchral ambiance of church visits with his grandmother. Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of “mid-fi” synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, “UNARIAN DANCES”, he also shared a split 12″ with synth pop forefathers, Eleven Pond. Listen here and order here. |
