Implant
Violence

Alfa Matrix Posted: Tuesday, October 05, 2010
By: Stephen Lussier
Contributing Writer

A highly engaging EP with enough creative breadth created by those who have been influenced by the band.

A remixed single release frequently possesses modest appeal for those wishing to delve more into an artist’s soundscape. Simply hearing various takes on the same song might be great for a DJ’s catalog, but those wanting more are seldom satisfied. However, Belgian recording artist Implant follows up the highly successful 2008 full-length release Implantology with a 12-track remix EP that breaks this rule enough to warrant a full-out listen. Based on the single “Violence,” the EP includes eight new and remixed alternate tracks that counter and play off of the four remixed versions of the main single. More than just a teaser or follow-up remix release, Violence veers away from a typical extended-single format with a good amount of stylistic charm.

The eclecticism in the music begins immediately with the first two tracks, both remixes of “Violence.” Studio X takes the helm with a springy and danceable version of the song, compressing beats and playing with audio tricks that push the song towards massive club appeal. The following three remixes on the EP are offerings from the top entrants from the Alfa Matrix remix contest that preceded the release of this disc. Working well at integrating or obliterating, Angelspit’s DestroyX at vocal center-stage, the remixes that ensue show a wide margin of creative diversity. Mizuh creates a darker, edgier version inclusive of a repeated “parental discretion advised” sample, which gives it a wonderfully straightforward industrial tonality. Prune Flat works more with an underlying synthed drive that ends up sounding completely electronic compared to the original. The Midnight’mare remix again returns to a more industrial vibe, capably strengthening the dark element within the music and reflecting nicely mirrored to the original. All three versions expand on the track just enough to suit the contributor’s individual style and show nicely the creative influence that Implant has had upon each artist.

An abundance of up-tempo remixes from the Implantology album from the likes of Daniel Myer, Shiv-r, Buzz, and Erector engage you securely through a continued listen. The addition of three brand new tracks are featured here as well; songs that would have easily fit well with the original album. The random integration of this additional music provides enough of a mix-up for those wishing to go beyond “Violence” and see what else Len Lemeire has helped to inspire with his music. Energetic and electric, Violence has more creative clout than the average remixed single EP and this in itself makes it worthy of the full one hour listen.

Matthew Dear
Black City
Ghostly International Records

Swimming in a sea of his own many career identities Matthew Dear nobly resurfaces with his third album following the critically acclaimed 2007 release Asa Breed. Black City takes on quite a different direction from its predecessor with what this multi-talented producer/artist/bandleader has now reshaped into his latest unique sound. This time around he has taken the electronica and harnessed it into an entirely new and almost menacing form of music. The landscape that results is as dark and confusing as it is alluring and playful. Dear, renowned for his capable mastery in the world of electronic sound-play, blankets his own Beck-esque vocals and off-kilter electronica with a saturation of samples and constructed beats on Black City. The opening track “Honey” begs you to decide just how deep and desolate Dear has decided this next wave in his musical career will be. Keeping you guessing throughout the album he consistently changes the pace of the music as he interplays foreboding lyrics with upbeat electronic pop. The rough disco dance-vibe in songs such as “Little People (Black City)” and the gritty, industrial tone taken by the almost obscene “You Put a Smell on Me” further confuse the direction of the album as it delves in and out of obscurity. From song to song your ears become muddled with the jumble of genres that he has tapped into, and the end product leaves you with a smile on your face that you just won’t quite understand. Black City is as dark as its title denotes, and the advent of the newest face of Matthew Dear is suiting him just fine.

http://www.matthewdear.com
http://ghostly.com

- Stephen Lussier

Exile
AM/FM
Plug Research Records

LA’s Aleksander ‘Exile’ Manfredi revisits his own music through interpretations by some of his peers. Exile, as he is known, is a producer/DJ that has been on the LA hip-hop underground scene for many years in the guise of producer and most recently solo performer. He incorporates cleverly chosen samples with skilfully constructed loops and beats in order to mainframe his unique identity in the instrumental hip-hop sub-genre. This collection is a revamped take on the music from his previous album Radio which was originally put together as an instrumental solo release. AM/FM is grounded by its core hip-hop element, but with the additional influences there now becomes a decidedly more chaotic handle to the music.

Selected vocalists, producers and remix artists on AM/FM have been hand-picked by Exile himself, and the detachment from the original work on Radio creates a brand new world of auditory consciousness. The likes of Alchemist, Evidence, Shafiq Husayn, Samiyam, Blu, DJ Day and Free the Robots pay homage to Manfredi’s music. While some of the revamped versions help the music take flight in new and expansive directions, at times the repetition and/or disorder makes the music fall short, causing the originals to become shadows of their former selves. The original instrumental versions on Radio arguably hold more weight when it comes to creating an aura of steady, consistent and thematic sound. That said, the randomness of any remix album should be appreciated and taken at face-value. It is, after all, an accolade of the original for the most part and nothing more. The diversity involved with everyone involved on AM/FM manage a fair job at messing things up enough to make for a solid remix album.

http://www.myspace.com/alexile
http://www.plugresearch.com

— Stephen Lussier

Courier News
Fixtures EP
Head In The Sand Records

Broken and elegant all at once, Courier News gently abuse electronic music with an assortment of non-traditional acoustic elements. The resulting music washes gently over you in a sea of downplayed melodies – and the ride never seems tiresome. The debut EP Fixtures from the duo of Alexa Dirks and Matt Schellenberg introduce us to the sound that Courier News has officially earmarked as their own. The Winnipeg duo doles out their twisted version of low-key electro-pop music in a fashion that reminisces of Death Cab for Cutie or possibly Spoon. Fixtures provides a casual ride of auditory pleasure that seems to hold no actual agenda or quick-moving intensity. The partnership takes a blend of acoustic and digital instrumentation towards a level of pop music but with a genuine quality that makes it accessible to anyone who is willing to give it a listen. Echoing and vocoded vocals cut themselves out of assorted acoustic/electronic clouds of sound. The electronica shaped by a midi system incorporates basic elements such as pots, pans and even Coke bottles, creating an unobtrusive and elegant backdrop to the music. Finally, the combination of both lead vocalists – alone and together – retains their modesty and soulfulness throughout the disc. A good indication of what this new collaboration is capable of, Fixtures is clearly leading towards a full-length album that will definitely be talked about.

http://www.myspace.com/couriernewsband
http://headinthesand.ca
 
— Stephen Lussier

Psyche
Re-Membering Dwayne
Artoffact Records

Artoffact Records proudly release master recordings of the original Psyche line-up from its conception dating back to 1982. These sessions mark one of the youngest points for the band, and a time when Dwayne Goettel was one of the band’s primary members. The collection, aptly titled Re-Membering Dwayne, pays homage to the man prior to his Skinny Puppy days. Goettel would leave the band to pursue other artistic directions prior to any remarkable Psyche success. With the release of tracks that Goettel and the band produced prior to the disbanding we are now able to look into a very small window of some of the rarest moments in Canadian electronic/industrial music history.

Marking the 15th anniversary of Goettel’s unfortunate passing in 1995 the label and the remaining members of Psyche have put together a consortium of the most interesting and innovative moments that both they and Goettel had shared as a band. The demo work, originally recorded but never widely distributed, can now be heard by the masses along with a few gem remixes brought to light from the likes of Plastic Noise Experience, Controlled Collapse and Dead When I Found Her. Time has taken a slight toll on the methods that were once incorporated in the song-making, but the vintage chic that remains represents the dawn of the modern electronic music age. Re-Membering Dwayne presents the Canadian industrial music landscape to a fresh audience through the re-released music of Psyche. This tribute to one of the genre’s preliminary members pays respect to the man and the band superbly, and is a must-have listen to those who recall the electronic/industrial movement in its heyday.

http://www.psyche-hq.de
http://www.artoffact.com

- Stephen Lussier

The Birthday Massacre
The Mod Club Theatre - Thursday, September 16th, 2010 

It’s a cold fall evening and an assemblage begins to collect around College Street’s Mod Club Theatre. The doors open and the floor slowly fills with eager young fans. The mass of primarily 20-somethings have gathered to witness a live performance by The Birthday Massacre as they hit their hometown of Toronto. The electric atmosphere develops and the energy starts to elevate as the evening begins to unfold.

Opening acts Mary & the Black Lamb and Raggedy Angry lash out an onslaught of angst-filled post-punk/emo music to appeal to the darkly dressed crowd. By the time the stage is reassembled for The Birthday Massacre the crowd has easily more than tripled. The entire band (barring lead vocalist Chibi) leap onstage, each with an energy that the crowd immediately responds to amicably. Chibi at last emerges in all her glory sporting a curious assemblage of clothes best described as a half-corpse/half-schoolgirl uniform. The rest of the band also dons similar (albeit male version) ‘uniforms’.

Kicking into full-out concert mode with a bang The Birthday Massacre set things in motion (just as they do on their recently released Pins & Needles album) by gunning straight into “In the Dark.” The album-release component of the show takes precedent and hits hard for those who already know the new music. More polished and refined than the work from previous albums, we’re shown a band now in their sophomore years, much more in tune to their own sound. Continuing the outpour of aggression-laden electronic rock the band delves back into their catalogue with a couple of songs from their earliest efforts, “Lovers End” and “Video Kid.” With these and other more high-paced songs the level of performance skill and energy abundance shows the passion that the sextet holds for their music. Almost a half-dozen songs from acclaimed 2007 album Walking With Strangers follow and the crowd responds enthusiastically. Connectivity between the band and the fans grows stronger still with an abundance of songs that they can simply sing and scream along to while the band continues to thrash about onstage.

The toning down of the harder electrical atmosphere hits with ballad-style tracks “Violet” and “To Die For,” creating a more relaxed and intimate vibe throughout the room. Chibi and the boys easily return the energy back and forth mixing softer songs with their trademark harder, synthed-out guitar rock. The set ends with 2004’s “Blue,” offering a cavalcade of electric guitar, synthesized backing, and vocal diversity that ranges from guttural to melodic. At the end of the controlled chaos comes a more than appreciative applause and shouts for more. “Happy Birthday” (a signature-piece for the band from the earliest years) erupts, and finally “Walking with Strangers” closes the show on a lively high-note.

At the end of it all the crowd slowly disperses, deflated but with a satisfaction that resonates on their faces. The band returns in just a few minutes to the main floor and takes the opportunity to mix with anybody remaining. As Toronto is the hometown of many band members it makes for an exhausted, yet enthusiastic encounter with the fans – most of whom (judging by how many sang along with the lyrics) have been following the band since their emergence on the scene in 2002. Autographs are given out and photographs are taken with their followers. This final scene makes clear the unconditional gratification that each member of The Birthday Massacre holds towards the people who simply love what they do for them.

- Stephen Lussier

photos by Stephen Lussier

Level 2.0
Armageddon

Nilaihah Records Posted: Monday, September 20, 2010
By: Stephen Lussier
Contributing Writer

Broken apart slightly due to a lack of lyrical/musical connectivity, Armageddon is industrial dance music with all the earmarks for future success.

Adding to their lineup of electronic artists, Nilaihah Records has recently taken the electro/industrial band Level 2.0 under its wing. Level 2.0, the duo of singer/songwriter Mike Hoffman and programmer Matt Clennan, draw out of their New York roots with a solid take on the genre. Not breaking away from the typical club sound, the band manages to make its mark on the scene through flawless production skills and cleverly crafted songwriting.

The electronic component holds a primary position on Armageddon with vocals providing a close second-place in the development of the band’s sound. Lyrically, this album is perhaps the strongest of any of their previous releases. However, there are times when conflicts arise with the electronic vigor that propels each song, sometimes almost excessively. The sensitive nature of songs such as “Stolen Kiss” or “Closer” becomes lost in a muddle of beat-infused rhythms that take away from the intensity of the lyrics. The clash between the aggressive musical component and the dark sensitivity of the words might be better played upon with a softer backbeat. Toning down this danceable pace toward something more appropriately downplayed would reflect better on such tracks, highlighting Hoffman’s expressive sincerity much more adeptly. This is not to say that the pace should be brought down throughout the entire album. A great example of an upbeat number that combines the best of both artists in Level 2.0 comes through with the title track. “Armageddon” is a song that truly epitomizes what the band is striving for in the sense of creating strong, club-friendly music that delivers enough force to make you want to instantly move about. “Invincible,” “Rivet,” or any number of beat-infused tracks retain this same dynamic quality, one that delivers enough oomph to please any foot-stomper on the dance floor. This consciously created energy rises to the surface of Armageddon successfully mainly (but not solely) because of Clennan’s seamless synth/programming skills. His ear for danceable yet slightly grittier-than-normal electronic rhythm easily rivals other well respected programming artists within the genre.

As a whole, Level 2.0 manages to forge a successful united front throughout the fast-paced points on the album both lyrically and instrumentally. They prove their strengths with solid production skills and create liveliness in the music that just won’t let up. The album as a whole draws out a bit at times, but it’s the pieces that make up the whole that will easily fit in any DJ’s arsenal of upbeat, danceable industrial music. Straightforward, energetic music is what fuels Armageddon. For this reason, Level 2.0 should be marked down as one of the club-oriented industrial acts to watch out for in the near future.

The Golden Dogs
Coat Of Arms
Nevado Records

When taking Coat of Arms out of its sleeve for the first time don’t be discouraged by what ensues. Toronto’s The Golden Dogs take pop-rock to entirely new levels of eccentricity with their latest release, but the divergence is worth it if you give it a chance. The unabashed obscurity that belts out on the first track “Dear Francis” brings to your ears piercing, off-key vocals with a minimalist piano/drum backdrop. If you can get it through your head that there’s something more to come then your perseverance will be rewarded. After a number of plays you start to see the first track as the band’s signature style and a welcoming overture to this latest release. The remarkably magnetic vocal styling of guitarist Dave Azzolini eventually gives way to the softer, dreamier tones of keyboardist and second lead-vocalist Jessica Grassia. Taking turns on the mike and working together this duo somehow meld their own styles together into something quite enjoyable and very much worth the listen. Taking on an almost Paul & Linda McCartney early-years vibe the two work their creative muscles in a raw and sensitive manner that you can easily take hold of. Coat of Arms will either win you over as a fan (new or old) or put off those who quickly dismiss music that they don’t quite understand. Coat of Arms is one of those albums in the vein of Arcade Fire and the like that warrant much more than one listen to clearly identify what it is exactly that is going on within the music. Those willing to come back will begin to embrace what The Golden Dogs are doling out as creative and memorable rock music.

http://www.thegoldendogs.com
http://www.myspace.com/thegoldendogs

- Stephen Lussier

Year Zero
Year One
Young Modern Records

Showcasing post-punk, garage rock in all of its raw glory, Year Zero thrash out fast and less-than-memorable music on their album Year One. The Ottawa-based quartet pound out a whopping sixteen tracks on this album. This may seem a bit excessive but for the fact that the average duration of each song rounds out anywhere between one to three minutes in length. The faint merging/threading of each of these quickly lashed out tracks combines each together in a form of ‘one-take’ garage studio sessions. Broken into two separate parts (sessions), Year One is comprised of songs from the band’s two earlier independent releases, Bottle Artillery and No Tongue For Eros. The vigorousness that is taken on by these unpolished and deliberately ‘live’ sounding takes does manage to hold a fair amount of appeal in small doses. Somehow, though, the homogeneity that occurs throughout all sixteen tracks reveals the style of the band essentially as a carbon copy of some of their early-90’s influences. Shades of the actual 70’s/80’s punk movement also hide in the shadows at points on the album, exposed best by some Ramones-esque moments that are unfortunately too few to mention. Granted there lies the impression of a speedy Hüsker Dü quality in some of the music, but once again the influences far outweigh the actual originality of the band. For the most part the overall sound on the album holds lackluster appeal, driving out a moderate adrenaline rush with more misses than hits. Taken at face value, Year One provides an energetic romp down punk-rock’s memory lane, but the homage that Year Zero has created with this album is simply not enough to distinguish the band in their own right.

http://www.myspace.com/yearzeroottawa

- Stephen Lussier

Noblesse Oblige
Malady
Metropolis Records

The Franco/German duo of Sebastian Lee Philipp and Valerie Renay, otherwise known as Noblesse Oblige, release their third full-length album Malady following a two-year gap since the 2008 release In Exile. Conceptually and theatrically gloomy, the new album is wrought with a great deal of dark elegance and upbeat rhythms. Delving into mysterious themes the lyrics embrace a great sense of mystery and forlornness which is amicably offset by an instrumental counterpart that fills the voids at every turn. The album shows Noblesse Oblige at their musical pinnacle with an acoustically grounded electro-fusion that far outshines anything of their own past. An assortment of exotic instruments heightens the overall melodic tone and bouncingly reverberates against the dark lyrical subject matter. The crisp guitar strumming matches Renay’s alluring voice on the opening track “Morning Docks” providing an immediate welcome into the album’s musical voyage. Songs such as “Beck and Call” or “Cracks on the Wall” introduce an almost pop-like Latino vibe to the music, creating fast-paced bridges in between some of the more shadowy tracks. The bluesy entry “When Thunder Breaks Up Under” darkens the tone of the album to a degree that takes the musical pace right down to its bare essentials. Songs like this one provide a wonderful forum for Renay to speak/sing her way through a song and easily prove her vocal worth. Philipp’s contributions to the album provide a wonderful vocal balance between himself and his female counterpart. Noblesse Oblige use Malady as a window that lets you into a world of lyrical wordplay with acoustical production at its finest. True audiophiles should take a listen with a decent set of headphones to really capture the live sensation that the album takes on. Arguably their strongest and most interesting offering since their emergence on the scene, Malady follows no specific genre template – yet it manages to combine everything together in a way that makes you want to return to it quickly as soon as it’s finished.

http://www.noblesseoblige.co.uk
http://www.myspace.com/noblesseoblige
http://www.metropolis-records.com
http://www.reporecords.de

— Stephen Lussier