Tuesday, 20 September 2022

Clockwork Echo

 

 

 

The band Clockwork Echo wants listeners too attribute whatever meaning they choose to the band‘s name.  According to band member Gabriel Ryan “the name is completely meaningless and a blank canvas for you to ascribe your own symbolism to.“ 

  

Ryan’s parents introduced him to the Beatles when he was five years old and so started his need to create music of his own.  Exploring themes of individualism, humanism, on occasion political commentary and even satire Ryan uses his music to explore issues that are important to him.  Citing influences such as first and second wave aggrotech bands like Hocico, C-Lekktor, Alien Vampires, Noisuf-X, Combichrist, Icon of Coil and Sucide Commando, Ryan’s music in this vein is fairly new and this has had an influence on the band’s sound.  

 

Describing the creation of music as a compulsion Ryan admits that he makes “music because it’s fun and because it feels good“.  Ryan says he cannot keep himself away from the production process.  He believes that the compulsion to make music exists independently from the fact that “any form of art will reflect the mindset and emotional state of the artist during the time it was created.“

 

Ryan describes Clockwork Echo as a Metal band that utilizes synthesizers instead of guitars and rather than using kick drum lines characteristic of Metal they instead favour the four-on-the-floor kick drums commonly heard in Industrial Metal.  For this reason he believes that the band is perhaps more Metal then Industrial despite being described as an Inductrial band.  “Clockwork Echo is what happens when a Metal guitarist tries to write electronic music and ends up falling back on tried and tested song arrangements from Death Metal, then running with it when he realizes that this is the formula that seems to work“ explains Ryan

 

Ryan is very involved with the aesthetic and style of the band.  “I am pretty heavily involved from a conceptual point of view.“ After finding a visual artist he trusts Ryan works closely with them to develop what he describes as “the conceptual backbone of the cover art.“  He then steps back allowing the artist to create. “I’m pretty hands off once we are past the conceptual stage.“ 

 

When describing the creative process Ryan reveals

“I’ve got a psychopathic death ray sitting in my garage that I like to use.  I’ll fire it up and point it at a jar of amphetamines with freshly squeezed lizards and record the results with a multitrack sampler.“   Ryan then says that he adds a bunch of distortion and punchy sounding drums, yelling into the mic until he has vocals he is happy with.

 

Literature and films have an influence on the bands lyrical content and visual themes.  The song “Apologist“ by the band features a quote from Beowulf while the entire album has sprinklings of medieval poetry.  

 

Ryan describes performing live as “a massive adrenlin rush“.  He admits to loving the connection with a live audience and trying to “make them go nuts!“. With ambitions to be the most “in your face“ band of their genre Clockwork Echo’s future plans involve the band being louder, more aggressive and faster.  


Ryan says he doesn’t really care if people listen to his music but he acknowledges that if a listener is already into extreme music “they’ll probably enjoy it.“


Links:


Facebook : https://www.facebook.com/clockworkecho


Instagram : https://www.instagram.com/officialclockworkecho/


Bandcamp: https://clockworkecho.bandcamp.com/



Friday, 2 September 2022

HVRT by CARV.R featuring Casey Desmond

 

         



HVRT the new track by CARV.R featuring Casey Desmond plunges the listener into a retrofurturistic, swirling undertow abetted by complicated reverb tinged percussion and addictive melodic hooks.  The haunting synth melodies are entwined with the radiant vocals of Casey and the enthralling accompanying vocal harmonies of CARV.R.  There is indeed something unsettling, yet enticing, about the clever juxtaposition of the pleading and questioning lyrics with buoyant vocals and CARV.R’s complex, layered synth soundscape.  HVRT is an incredible evolution and fusion of dark synth elements transporting the listener to an alternative and satisfying timeline while exploring the clouded aspects of dysfunctionality that occur sometimes with those that we love. 

 


Links :


YouTube : https://youtu.be/dKFhi8m7QTY


Instagram: https://www.instagram.com/carv.r_/?hl=en


Facebook : https://www.facebook.com/CARV.R.Official/














Sunday, 28 August 2022

Josie Pace

 



“Ever since I can remember music and performing were my main goals” admits musician Josie Pace.  Growing up in a family that love music and having supportive parents that encouraged her to learn everything about writing, singing and playing the guitar helped cement Pace’s passion for music and performing.  

 

Even though she performs under the name Josie Pace, there is a band mentality to the music and  performances.  Pace works with keyboardists and producer Ken Roberts in the studio working on music.  The duo collaborate to create music, concepts for music videos, photo shoots and live shows together.  Pace also enjoys collaborations with other artists and creating something unique and different from their styles.  “I’ve worked with my very good friend Sammi Doll of IAMX and Bullet Height on one of my own songs “Perfect Replacement” and on my cover off the Placebo song “Pure Morning” Pace explains.  Having also worked with Raymond Watts of PIG, Pace says “I am always looking for artists that I think will fit well and bring something new to the table with collaborations.” 

 

Pace enjoys writing about personal experiences and she considers writing a form of therapy with song writing helping her to express herself and relieve any pressure she is feeling.  She believes in some ways that writing songs and performing is like a superpower that allows her to reach out to people and make them feel less alone.  “I also love that writing the way I do, in more of a poetic manner, leaves room for the listener to connect with the song in their own way.” Pace explains.  

 

Describing her music genre as Electronic Rock, Pace sees her songs primarily as rock songs.  She writes them all on guitar and then transposes them to synth driven music, ensuring to keep live drums in each song to foster what she describes as a more human feel.  “It isn’t dance music and I think that is what makes it very different from a lot of “electronic” music that is out now.”  Preferring to write alone, after recording the songs on guitar Pace then records phrases and chord progressions on her phone until she finds something she feels is stronger enough to write around.  When Pace is happy with a song she has written she takes it into the studio where she works with Roberts to transpose it to electronic music.  In the studio songs may change a bit lyrically or rhythmically as the duo bounce ideas off of one another.  When the rough track is completed, Pace records the final vocals and the live drum and the song is sent to be mastered.  

 

“The style and aesthetic of everything we do is a magnified version of myself” says Pace.  She considers the visuals to be as important as the song and she relishes the styling of photos, videos and cover art.  Growing up Pace was influenced and inspired by musicians Prince and Joan Jett and fashion icons Vivienne Westwood and Alexander McQueen.  

 

Pace’s favourite part of the artistic process is live performances.  “The fact that I put so much into my songs and seeing so many people in person know them and the sing the lyrics back to me 

Pace describes as a humbling experience.  The energy of a live crowd and the release Pace gets from performing live is for her an overwhelming and inspiring experience.  Pace also loves to meet fans at her shows. “Because without fans I wouldn’t be able to performPace acknowledges.

 

Pace believes there are some big things on the horizon for her and she always endeavours to keep future music fresh and new.  According to Pace in the future fans can expect “heavier music from me but also some stripped back music as well. “ Pace enjoys showing all facets of her music process.  Future plans also include headlining a tour, a new EP release and perhaps even a new full length album.

 

For a novice to Pace’s music she suggests that they prepare themselves for “hearfelt lyrics and “blow your face off”sound that will have you questioning your entire existence.” New listeners can expect to experience everything that is running through Pace’s head or weighing on her heart in a beautiful and poetic format that Pace believes is “best to relate to the listener and really let them adapt to each song in their own way”.


Links :


Bandcamp : https://josiepace.bandcamp.com/album/iv0x10v5


Facebook : https://www.facebook.com/JosiePaceGSM





Friday, 19 August 2022

Kevorkian Death Cycle

 



Formerly known as gRID the American Electro-Industrial band changed their name in around 1992 to Kevorkian Death Cycle because the name Grid had been taken.  While performing as gRID the band who is made up of Ryan Gribbin and Roger Jarvis had written a song about Jack Kevorkian Mecitron Machine.  Fully supporting Kevorkian commitment to humanitarian euthanasia, gRID changed their name to Kevorkian Death Cycle or KDC.

Having met through a mutual friend Gribbin explains that both he and Jarvis had been playing in other bands.  Gribbin began playing guitar for Jarvis’ band Servo Sector, also a project of Dean Whitman.  Not long after they joined up with Ron Robinson.  Whitman and Robinson are working on new tracks with KDC.  

 

Attracted to Electro-Industrial music Gribbin explains that it was completely different music from what he had been doing before which was mostly Rock/Metal.  “I loved the darker stuff like Coil Leaether Strip and Skinny Puppy, and then I heard the music that Roger, Sean and Rob were doing and I was into it.”  Jarvis simply describes his love of the Electro-Industrial genre of music by saying “The first time I heard skinny puppy I knew what my life was missing.”

 

When writing new music Gribbin looks inward deciding where he is at with the world at that time.  Working with pent up angst and current feelings and thoughts Gribbin images a person or setting.  For Jarvis percussion and rhythm are the start for any new music because then he believes “everything falls into place after that.” 

 

Often inspired by movies and literature Gribbin grew up watching all kinds of 80s and 90s horror movies and he believes that’s what his imagination looks like.  Jarvis is sometimes inspired when watching a movie and he acknowledges that “imagery and sound go hand in hand for me.  Landscape translates to soundscape, action transforms to rhythms and percussion.”

 

Although not involved in the aesthetic or creative direction for the bands last couple of albums God I am and I am God, Gribbin was part of the creative presentation of the latest release.  Gribbin says “I really wanted to dive in and try to make something I was really happy with, both musically and artistically, and I am.” 

 

Both Gribbin and Jarvis enjoy live performances in front of an audience. Gribbin admits that pre-show it’s hard to see how much he actually enjoys live performances.  Jarvis describes live performances as a way to all get together and do what they love to do. 

 

Future plans for the band include continuing to make music, neither Jarvis or Gribbin see the band ending anytime soon.  Jarvis explains that “we have no limits or boundaries so anything is possible.”

 

Gribbin suggests new listeners to KDC should realize that first and foremost they are electronic.  Gribbin goes on to say “I feel like there is a message for anyone throughout our catalogue of music because we write our music and message for everyone.”  Jarvis recommends that new listeners “close your eyes and try and sing along.  The more you listen the more it makes sense. “

 

Links:


Bandcamp: https://kdcngp.bandcamp.com/


Facebook : https://www.facebook.com/KevorkianDeathCycle/


Instagram : https://www.instagram.com/kevorkiandeathcycle/?hl=en

 

 

Voicecoil

 



Denver based Futurepop act Voicecoil has a name inspired by a component of a speaker that band founder Mark Sousa describes as “something we all use to consume music and other media”.  The component is basically used to convert an electrical signal to the vibration that we actually hear through our electronics.  The unique name popped into Sousa’s head when he was trying to come up with a name for the project to release their first songs.  Thinking the name Voicecoil was perfect for his needs Sousa ended up making it one word to make it stand out and simplify searching for the project.

 

ComprI sing of Sousa and at times, during live performances, various live line-ups ranging from one or two keyboard players, a guitar player and even a drummer at one point, Voicecoil now consists of Sousa and a keyboard player on stage.  Although Sousa admits he “would love to find a drummer if the right one came along.”

 

With music that centers around Pop/Dance compositions that have a traditional Pop song structure, Voicecoil admits the band doesn’t get too deep into the music genre game.  Sousa acknowledges that his “music is synth based and Poppy but has lots of dark theme. People will call it what they like.” 

 

The creative process of Voicecoil can vary at times.  Sometimes Sousa is inspired by a chord progression he likes that he can build a song around and on occasion a synth sound will inspire him to create a melody around it.  Even inspired by his dreams Sousa admits that now and then he hears musical ideas in a dream and he “wakes up to try and bring them into the real world.”  This either results in something sounding close to what he heard in his dream or sometimes it doesn’t.  It’s a haphazard process.  

 

Sousa does all the artwork for Voicecoil and though he says he isn’t a graphic artist he creates what he describes as “simple, minimalistic artwork” a style that has always appealed to Sousa.   He explains that he is “severely vision impaired and so things like contrasts and form are very important to me as that is generally how I view the world around me.”

 

Sousa enjoys playing in front of a live audience and relishes the thrill of connecting with people that are into something he created.  “Songs can sound different live and that’s always interesting to see how they translate”  Sousa says.  Touring also allows Sousa to travel and see new places which he enjoys.  When describing performing live Sousa explains  “when the lights are going and the music is loud and people are dancing, you can lose yourself in a moment and the only thing that matters is the moment you are in.”

 

Despite touring having become more difficult for smaller acts due to the pandemic and financial stresses, Voicecoil would like to tour again soon. There are many places all over the world that Sousa would like to travel to and perform in. He hopes that someday soon he will be able to perform in Germany, the country he was born in.   

 

Sousa believes that Voicecoil’s music will progress organically.  He also started working on a side project called Gravity Corp which is more aggressive and angry music, something Sousa hasn’t explored as much.  Sousa wants the listeners and fans to know that every little bit of support shown towards a band is appreciated and is important even purchasing things like T-shirts or buying an album on Bandcamp.  Sousa says that this kind of fan support goes “beyond keeping them creating and keeping our culture going, it also usually helps keep the lights on and keeps people fed.” 

 

To a new listener Sousa simply suggests they listen to the music and make their own judgement.  “Art is so incredibly subjective” says Sousa.

 


Links :


Facebook : https://www.facebook.com/voicecoilmusic


Bandcamp : https://voicecoil.bandcamp.com/album/singularity


Webpage : http://voicecoilmusic.com/news

 

Tuesday, 16 August 2022

Strange Days by Voicecoil

 



The theme of loss was a huge inspiration for the new album by Denver Futurepop group Voicecoil.  During the pandemic the uncertainty of not knowing what was going to happen made everything around Voicecoil lead man Mark Sousa seem terrifying. “Then people started to die and I thought my whole world was ending” explains  Sousa  

 For most of the time during the pandemic Sousa couldn’t write.  When he was finally able to create music again he was very inspired.  “I also thought about the course of my life, what I wanted out of it and what I owed to those who believed in me when I was alive” , he says.   


The cathartic effect of music and music production have helped Sousa express how he felt after such a tumultuous world event. The songs “If/When” and “Vesterbrogade” reflect that point in particular.  The idea that you keep going as long as you can and make your life what you want it to be or die trying became a focus for Sousa.  He was inspired by a woman that he cared for very much who suffered a lot pain in her life all the while enduring it with courage. “No matter how much she hurt she had words of encouragement for me.  That will always stick with me.”  Both “If/When and “Vesterbrogade” take the listener on an almost frantic music journey with riveting beats and haunting lyrics.  


During the pandemic people Sousa loved dearly passed away in the span of a year and a half.  According to Sousa these people were the kind of people you only get to meet once in your life and he was devastated by their loss.  “For Katie”, “Why” and “Drift”, are songs all written by Sousa for people that he lost.  “For Katie” has a persistent and nostalgic sound with melancholic lyrics.   “Why” is a layered music journey with imploring lyrics and vocals towards the end of the song   “Drift” takes the listener on a musical odyssey with a tinge of hope afloat upon a beautiful melodic soundscape.  


 Engulfing the listener into a pervasive soundscape of evocative trance beats “Witness” has hypnotic vocals.   “Speak In Sine” has a techno dance orientated pop structure with retro sounding vocals. “Above The Static” instantly transports the listener into a fast paced technoid environment with dark lyrics and undulating, entrancing vocals.  Using repetitive bass lines and factory ambience “Line in the Sand” is filled with ominous lyrics and cautionary vocals.

 

“No Easy Reply” “is focused on the instant judgement of the internet age and the court of public opinion, often armed with no evidence making a judgement and decision about something.  Sousa describes this phenomenon  as “the mob mentality, cloaked in a veil of righeousness.”  He goes on to say that “that kind of thing always seemed to terrify me.”  “No Easy Reply” has foreboding lyrics adrift in a fast and retro beat.


The album Strange Days is a compelling pilgrimage through the soundscape inspired by Sousa’s personal experiences throughout the pandemic and is well worth a listen.

Sunday, 14 August 2022

Dread Risks ‘automated disappointment”

 


Austin Electro-Industrial band Dread Risks second full length album “automated disappointment” is a dark and spiraling journey inspired by the trauma of existence and the inevitable hostility of shattered expectations. 

 

“Bound Limbs” starts the album, a musically dark and chaotic track accented by snarling, distorted vocals.  Gnarled whispered vocals and a frenetic pace take the listener into the diabolical soundscape of “Comadose”.  “Machine Identity” has a frantic dance beat with terrifying lulls and sinister vocals.  An industrial and swirling journey “Trace Amounts” tugs and pulls at the listener while inundating them with insidious and looming vocals and lyrics.  “Trauma Ties” is led by growling vocals and is a shadowy and lurid expedition.  With a choppy dance beat “Nothing in the Static” is an undulating and disorientating soundscape accompanied by askew, raw vocals.  “You Sleep In The Shroud That Buried Me” provides a convulsive music experience featuring malevolent vocals.  Dissonant haunting harmonies and a confronting industrial sound environment come together in “Obliteration Complex.”  With almost solicitious vocals “Extinction Form” has a hefty brutal back beat.   The final song on the album “Obliteration Complex – Ritchual” is a musical onslaught that’s poetic and primal with an unnerving drop in the music in unexpected places adding to the songs almost intoxicating effect on the listener.

 

Overall this grim and gritty musical journey is an insightful and deliciously enticing listen.