DC and GROUPLOVE album releases

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"Our cd @roughtradeshops ! Surreal" via GROUPLOVE

(The North American release of Never Trust A Happy Song isn't until September 13th. /lazy post this morning)

Innerpartysystem on "indefinite hiatus"

In their newsletter yesterday, the trio said this.

innerpartysystem is going on indefinite hiatus. We aren't breaking up nor do we hate each other. As a matter of fact, we are all great friends. BROTHERS. Our experiences with this band and the people we've met over the past 6 years have shaped us into who we are today. We will without a doubt look back on these times with nothing but positive thoughts and feelings.

While we will always treasure our time as innerpartysystem, we as individuals have chosen a path different from the one the band originally set out on. We can't stress enough that this is a very positive move for us. As we've grown, we want to move on to new projects that keep us excited about making music. Such is life. We promise, there will be music coming from all 3 of us separately, at some point.

They're playing three last shows (for now) as follows:
August 26th @ Building 24, Reading, PA
August 27th @ Outdoor Show, Hoboken, NJ
August 28th @ Bluebird Theatre, Denver, CO

I really don't have much to say. I love Innerpartysystem, but this was so civil. I'm left feeling calm rather than disappointed, especially knowing that Jared, Patrick, and Kris each are very talented and likely to do just as well in other projects/solo work. It'd be good to see the group back in a few years.

Endless Routine's White Noise

Meet Alex Webb, one half of British-electronic duo Endless Routine. Along with Tim Wil, Webb combines urban hip hop beats and cold, taut strings with fastpaced Cleveland-style industrial. Self-released four months ago, White Noise In Your Heart is a good start. I think better mixing and production could take them quite a ways. "Shatter" is my personal favourite track, but "Nthing Left To Sey" is a noteworthy surprise to finish the 6-song set. Take a listen below, and if you like what you hear, spread the word!

And Then Adversity Persists (1998)

I have several confessions to make before I begin:

I'm sixteen.

I have an exam in an hour.

I am notorious for tagging along with Mommy on shopping trips and spending hours sifting through the electronics department of the local Zellers or Shoppers Drug Mart.

It's a huge, efficient waste of time, but I've found gems like Guilty by Association (2004, State of Shock), the following, and the no-longer printed Stutterfly debut for less than $6.

(c) 1998 DeMuzik Entertainment

Genre: industrial, synth rock, electronic, alternative

"... And Then": The intro piece begins with generic synth, a sci-fi movie sort of sound, layered beneath warped speech.

"Adversity Persists": Is actually very strong, once again a soundtrack to an action movie (choc full of fast black cars, spies, and mindblowing gadgets). The vocals are reminiscent of a breathy, calm Trent Reznor. "Fantasize, I think I know your name", John B. Simon (under the moniker, Seven Theory Nine) screeches in a whisper.

"Eternal For Now": There's no coincidence And Then Adversity Persists was constructed during the peak of industrial in the mid-90s. If this track weren't so successful in replicating NIN sounds, I'd write Simon off as a wannabe. However, in addition to the progressive, spacial atmosphere lifted from the Cleveland scene, "EFN" possesses a glorious bridge section. The vocals shoot an octave at about 3:20, followed by an impressive interlude. And he's clever enough to end it on that high note, without bringing the chorus back for another round.

"Last Candle": Upon a :45 minute modified bass-riff of an intro,

Say, what you wanna say, to me. To me.
Do, what you wanna do, to me. To me.

Filthy syncopation ensues. My god, do I adore that bass ostinato- it's not even complex, just effective in paving the groundwork for Despereaux. Brings back the voice from "... And Then" briefly.

"Under Down Under": The intro, which is strangely ingenious. Otherwise, this minimalist movement is casually underwhelming down under at first listen. There's a soaring string melody, ending prematurely at 4:00, where the remaining minute-and-a-half is heavily rhythmic, but nothing more. "Weird".

"The Burden of Truth": Familiar sounding mid-section siren. Perfect ambiance vibe for our spy-action flick/much-anticipated stoner party. Its one lyric is slightly destructive/destracting, though.

"Sustained By Her": Another good riff provides melodic interest halfway through the album. This track is much more rock-orientated, calling to mind Moist, Deftones, Tool, etc. Minus any screaming, of course. It's open to discussion whether this is a love song or a drug song. Beautifully dissonant piano ending.

"Sad But True" (mp3*): One of my personal favourites. "Sad But True" has a windblown sort-of theme. It's difficult to describe, but take a listen yourself. Simon's poetics, though taking the backburner in this project, are first-rate.

[Flash 9 is required to listen to audio.]
"Subsequent Behavior": Straight from the liner notes,

I love that thing I love that thing I love that thing you do why don't you do it to me? do it to me.

"Numb": Lyrically, there is a connection between this track and "Last Candle". Artistically, the highlight is Simon's photography subject. (My scanner isn't working, so here's a blurry photo instead.)

An iron? Really?

"Bet You Can't Say That Again": I feel as if the buildup on "BYCSTA" is slightly off-tempo. Although it's probably intentional, it's unaffecting all the same... my ears are simply not in agreement.

"Easy Damage" (mp3*): For a record that is already heavily rhythm- based, this percussive track takes it to a new level. The stops, scratches, and fluctuating dynamics are golden, not to mention the exceptional opening verse and its fourth line repeated throughout.

Delivering our shit into a new age
Delivering our shit into a new age
Like children defecating in the shrine
There's no such thing as easy damage
Thank you

"Comfortable Sorrow": In contrast to its predecessor, "Comfortable Sorrow" is toned down melancholy with those same throaty vocals as on "Adversity Persists". I think this is about as tame as Simon gets. Surprisingly, there's a symphonic Eastern-pop sound to match the acoustic strumming and downbeat rimshots. Nonetheless, its absurd misplacement wins the "most-alluring" title. Who knew, eh?

"Until Hope": Dino Pacifici, an ambient musician from Montreal, contributes to this 10:22 composition of dripping-tap torture turned metallic bliss. (The only entirely instrumental tune.) Canada represent.

*currently seeking to authorize the distribution of these mp3 files. If the owner of their rights would like to see them removed, please contact me immediately.

I'm also currently in the process of finding some of Simon's more recent undertakings. From dancehall interludes ("Under Down Under") to rock infusions ("Adversity Persists", "Sustained By Her") its synthwave finale ("Until Hope"), And Then Adversity Persists really is something.

LIYL Nine Inch Nails, Depeche Mode.

Innerpartysystem's Never Be Content EP

buy the album

Release date: February 22nd, 2011
Genre: electronic, industrial rock

I can only say immediate good things about opening track "And Together", alongside the brilliant "American Trash" (for which I posted the video). "Not Getting Any Better" is probably the next best bet, though all seven songs are worth it- the Adam Freeland Remix of "American Trash" included.

We can blame their familiar glam-punk sound on a generic past, but it's nice to see them break out of that funk. Ever since uncovering tracks beyond their remixes of "Hot N Cold", "Kings and Queens", etc; Innerpartysystem won me over. Shh, I might just like them more than Pendulum.

EastScene: Daedalean Complex album to be mastered by Tom Baker

A Rose For The Dead will be their second release, a follow up to 2008’s self-recorded and self-produced debut...

Read more

(So I'm doing a writing stint at web music magazine EastScene.com, which is fairly exciting for me. It's a neat site where I'll probably try to infuse some local/indie/underground acts into that pop punk majority.)

What impressed me and what didn't (2010)

1. How To Destroy Angels EP by How To Destroy Angels
For fans who thought it was over, psyche! In ways, I prefer this new project to Nine Inch Nails (oh, yes I did). The dark, dreamy background is perfect for Mariqueen Maandig's voice. (I posted about the lead single, "The Space In Between".)

All six tracks can be downloaded from their site.

2. Kanye West's Saturday Night Live performance. He reinforced his artistry with a well-developed contrast in the colours, the choreography, and the concept.


3. Teen Dream by Beach House
Sounds weird, but it was actually the following concert photograph that made me check these guys out. I believe they were supporting Vampire Weekend at the time. The resulting contribution was some necessary dream pop to my library; a genre I've previously had .

photo by kendallstark on Flickr

HM Arcade Fire's interactive music video for "We Used To Wait". The creative use of Google Earth and extensive replaying warmed me to the song, which to be honest, I wouldn't have listened to previously.

1. "Like a G6" by Far East Movement Feat. Cataracs and Dev
Although I did previously mention this track (not once, but twice), I expected it to last longer. Instead, "Like a G6" popped and fizzled; most people got sick of it as a dance tune. It certainly generated enough searches for "what is a g6".

The song reference when "what" is typed into the search bar.

2. While we have the image above, Google Instant. I'm sure it'll be improved over time, but thus far, Instant Search has benefited me minimally. I'm not bothered enough to turn it off, but the reloading is a hassle when I'm doing a search engine run (frequent, in my case).

The Facebook changes were nothing compared to this, however I'm not an avid Facebook user to begin with.

3. "The Social Network" was reportedly one of the best movies of the year. When it was being previewed, my friends and family wanted to see it but I said no: No, it did not look like an engaging film; no, it did not look like it would meet people's expectations. I only recently watched it for Justin Timberlake, who I'll admit I'm a big fan of. (Don't ask how that came about.)

Andrew Garfield; whom I can't wait to see in "Never Let Me Go".

Well, I watched it, and I still didn't like it. The cast was alright, but the humour was dry and the onscreen Zuckerberg was a trainwreck. I thought the characters lacked substance.

HM Recovery. I'm never impressed with Eminem, but in his defence, the musical choices him and his team made on Recovery are surprisingly better than they've been in the past. Unfairly in this list, I'd call it a fairly good overrated album.

"Chrysalis" by Daedalean Complex

[Flash 9 is required to listen to audio.]
Origin: Quebec, QC, Canada
Genre: goth, industrial, metal

This underground act has undergone many lineup changes, but remains to be one of the country's most recognized cult-metal groups. I came across them around May, downloaded their first album off their site, and took an instant liking.

art by Herr Nox (download the debut)

"Deus Ex": An atmospheric intro that really screams potential.

"...Machina": Although I'm not a big fan of the distortion on vocals, they make for a neat effect.

"Far Beyond": The guitar riff is wonderful- creepy, memorable, and a perfect companion to the hollow screams on the offbeat. I can't get over how simple the melody is, because the effectiveness really shines through; four minutes of familiarity with no tiredness.

"Chrysalis": And I'm in love. From the guitar intro to the throaty growls of "we are", it's a great, light piece. While owning dark tones, there is no overwhelming, indecipherable noise; Herr Nox's vocals just will make you "lose control".

"Cut'N'Bleed": This song starts of like any generic rock song with a basic drum beat. Actually, most of their songs do, the guitar and vocals take the listener by surprise. (In this case, it's a good surprise.) The buildups are clever and the production is exquisite, especially for a lesser-known band like DC.

"Sea of Lust": Beginning with a string line gives it a whole other feel. Not before long, a bass line creeps in, and you'd expect full-blown drums. They enter with the vocals, which are tame in contrast to the rest of the album. The instrumentals take a well-deserved front stage.

"Virtual Faith": The cyclic intro/outro is one of my favourite parts of the album; it's a very gritty, straightforward piece.

"Under a Rain of Ashes": Toning it down again with some interesting effects to conclude.

(official site)

Ix's Descent Into Dreams

Download this album free

Two-parts of recently reunited progressive metal number Inocula, Paul Petrosyan and Tyler Etters really had something going here. Their percussion is innovative, and they make good use of keyboard and woodwind tones. Constant blowing wind effects on the tracks is a little distractive, but if you can get over that, this is a great find for industrial fans. You can check them out at their official Myspace page.

"The Space in Between"

This song is absolutely brilliant. Mariqueen Maandig's voice hauntingly compliments Trent Reznor's percussive instrumentals, while the third member of the trio, Atticus Ross provides extra programming. How To Destory Angels is Reznor's first project since Nine Inch Nails, and although the latter cannot be compared, I think I'm growing to like HDA better- it's the refreshing mix of female vocals and industrial styles. My favourite track on the EP? "A Drowning".

(get the EP free at their site)
Also, I recently did a piano cover of "Alibi" by 30 Seconds To Mars. Let me know what you think.

[Flash 9 is required to listen to audio.]