Stephen Mallinder - Tick Tick tick...

Cabaret Voltaire co-founder Stephen Mallinder’s second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and “wonky disco” into a riveting rhythm suite ripe for our age of escalation: tick tick tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at MemeTune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond “cowbell on every track, and entirely no reverb.”

From the first coiled cybernetic groove of opener “Contact,” the album’s spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, “rhythm is the default, the bedrock, the building block – even the melodies are rhythmic.” Across 40-plus years of electronic musicianship, Mallinder’s sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial (“ringdropp,” “Shock to the Body”) crossfade into no wavy punk-funk (“Guernica Gallery,” “Galaxy,” “The Trial”), bad trip IDM (“Wasteland”), and jittery vapor house (“Hush”), at the threshold of modes both familiar and foreign.

Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder’s main muse: “Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation.” This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: “I will be a constant figure / Flickering a moving picture / Turning in your head forever / Split apart but held together.”

LP / Digital Album

Posted on July 24th, 2022 under Releases, ,

VR SEX - Rough Dimension

The latest by Andrew Clinco’s acid punk alias VR SEX takes its title from an architectural phrase but more importantly refers to the warped, wicked underworld the songs both chronicle and condemn. Donning the moniker Noel Skum – an acerbic anagram of Elon Musk – Clinco vents his scorn for and fascination with the seedy, surreal margins of low-life Los Angeles, doomed to dead ends of vanity, lust, and technology. Although initially launched as an outlet for “heavier sounds” beyond Clinco’s duties in new wave fantasists Drab Majesty, the project has ripened into a compelling exercise in world building, weaving themes of gritty city neo-futurist sleaze within a framework of driving, distorted guitars and cathode-blasted synths. Echoes of Chrome, Wire, Minimal Man, and Sisters Of Mercy ripple through the collection but ultimately Rough Dimension charts its own twisted vision of “our unforgiving reality.”

Written and demoed across two weeks alone in a Marseille flat using his prized 1980’s Gibson “Invader” and a laptop, Clinco then took the tracks to Strange Weather studios in Brooklyn to record with Ben Greenberg (Uniform, The Men) who helmed 2019’s debut, Human Traffic Jam. The results are notably ripping, refined, and riveting. Riffs in alternate tunings chug and churn over mid-tempo drums punctuated by spikes of sci-fi electronics while the vocals swagger and spit venom (“where we walk is also where we shit / but if we bark at our reflections are we hypocrites? / impulses bleed right into our seed / where hate culminates the apple rotted on the tree”). It’s a bristling mix of the melodic and the macabre, absurdist observations of fast living and desperate measures, the clock of youth ticking towards midnight as dreams unravel in Babylon.

VR SEX’s specialty is making these cautionary tales of psychic decay and tainted love a thrill rather than a drag. There’s a sunglasses at night glamor to Clinco’s choruses and solos, a wit to his black leather judgements (“what is the answer / to cancerous people / walking in my line of sight?”). The music’s milieu tends towards parasites and predators but its mood skews refreshingly accelerated and amused, cruising the strip with a cigarette, watching goths and limousines crawl in gridlock beneath digital billboards. The Rough Dimension may be a cesspool, but it’s home.

LP / Digital Album

Posted on March 24th, 2022 under Releases, ,

ADULT. - Becoming Undone

After a quarter century of nearly nonstop activity, dystopian Detroit synth-punk institution ADULT. have perfected a strain of stylistic cohesion in the album format, “but for this we wanted something that’s falling apart.” Becoming Undone, the 9th official full-length by co-founders Nicola Kuperus and Adam Lee Miller, explicitly succeeds in this aim, simultaneously rejecting and reflecting the planetary discord that inspired it.

LP / CD / Digital Album

Posted on February 16th, 2022 under Releases, ,

Helm - Axis

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

The album’s unique immediacy stems from Younger’s instinctual muse, reactivating raw methods with fresh energy. “I tuned back in to working with noise techniques again: more primitive equipment, cheap FX, contact mics, noise boxes.” Key guest contributions by Lucy Railton (cello), Mark Morgan of Sightings (guitar), Alex Tucker (vocals), and the late, legendary John Hannon (violin) further enrich the record’s bristling palette. Although half the tracks were begun pre-Covid at Hannon’s Essex studio, the rest were finished in Younger’s kitchen and living room during lockdown. The final tracks were then relayed to veteran mix specialist Randall Dunn, who further honed the material, adding a vivid spatial quality before entrusting the album to Stefan Betke (Pole) for final mastering.

From the hellscape metronome of “Moskito” to the insectoid warzone pulse of “Repellent” to the seething orchestral undertow of “Axis,” this is music of ominous gravity and worlds in peril. But it’s the closing cut, “Tower,” which Younger calls “perhaps the most dramatic piece of music I’ve ever made.” A lurking, blackened descension conjured on keys, guitar, and wormhole wah, the melody simmers and swells until suddenly exploding in a chaos of distorted blast beats. From their ashes the three-note riff slowly returns, like some astral dungeon synth exorcism, rising in a searing arc towards frenzied immolation before finally fading away in white fire and afterlife whispers.

LP / Digital Album

Posted on November 24th, 2021 under Releases, ,

Xeno & Oaklander - Vi​/​deo

East Coast minimal wave institution Xeno & Oaklander’s seventh full-length further distills their iconic noir synth pop into a streamlined suite of gleaming, graceful retrofuturism. Inspired by ideas of synesthesia, scent, star worship, and obsolescent technologies, the duo of Liz Wendelbo and Sean McBride began conceiving the blueprint of Vi/deo while sequestered at their Southern Connecticut home studio during the pandemic. The context of isolation, streaming, and remote dreaming seeped into their chemistry, manifesting as both homage to and meditation on a certain cinematic strain of technicolor fantasy: the screen as stage, distance disguised as intimacy, where tragedy and glamor crossfade into one.

Opening with the precision synthetic melancholy of “Infinite Sadness,” the album marks a peak fluidity between the pair’s fusion of analog electronics and poetic melody, both refined and oblique, classic but contemporary. Wendelbo modeled her singing on “a young boy in a choir,” alternately holding notes and whispering them, with the lyrics clear, the voice elevated. McBride’s synthesizers serve as the perfect counterpart, tiered and polished, threading fluorescent architectures of a lost audio-visual age. Theirs is a darkwave of reverie and flickering city lights, swooning and sleek, romantic anthems for concrete bohemia, cigarette smoke in rainy gardens, and sound as color (“blue is fast and red is slow”). Vi/deo captures the bittersweet beauty of youth and utopias, the wistful transformation from miracle to memory, where love turns unreal and music becomes myth: “Sounds of the underground / Will echo in future days / Feelings of misery / Will fade into the haze.”

LP / CD / Digital Album

Posted on October 31st, 2021 under Releases, ,