Multi-genre artist Justin ‡ Symbol has released the official music video for "Trash Fire (ft. VoKillz & Angel Nightmare)". Directed & Shot by Ricky Rubinson, "Trash Fire" is off of the artist's new album, Candy Man.
Showing posts with label Industrial. Show all posts
Showing posts with label Industrial. Show all posts
Thursday, December 12, 2019
Friday, May 31, 2019
Eternity is but an instant | An interview with Thomas Martin Ekelund of Trepaneringsritualen
"We stare into the radiant light, and stumble blind and mad into the moonless night. We bow not our heads, nor do we ask for mercy.
The world is agony.
This is a journey of pain, ecstasy, and death. We do not seek companionship, because this prison of flesh is a solipsism. We straddle the balancing point between light and darkness, love and hate, life and death. We hide our countenance to reveal the hidden face of god.
We hang ourself from trees and crosses. We bleed and suffer. All in roaring silence.
Eternity is but an instant."
Firstly, I wanted to talk about your latest work with Nordvargr this year. The collaboration seems almost both instinctual and inevitable. Listening to the music you feel a mutual animalistic dichotomy between the two of you, almost a push and pulling of motion and energy. Can you explain this collaboration and how it felt creating this project together?
Definitely. Fairly natural, it should have been much weirder. Because I have listened to Nordvargr for say 20 years but all of the sudden we are very working together. Instead it came together very naturally.
Often at your live shows you start with a sack tied over your head, a somewhat faceless force coming out of the smoke and dark. Does this signify a sort of metamorphosis of your essence coming forth or serve as a cathartic measure that in part couples the intensity of the music?
Yeah I guess. The reason I started using it was to hint at the hanged man, at the sacrifice. But yes, I guess it dissolves me a bit so I can concentrate on TRP and behind the mask there is so freedom.
Ritual is very important to you musically, personally and in the realm of performance. You’ve talked about the importance of not only sound but smell and vision as a part of a TRP performance. What is it you want the audience to take away from one of ‘rituals’?
I guess it depends on where they start. Are they already converts? Have they had any experiences of total annihilation of the ego and submitting to forces beyond themselves? If they haven't before then I want them to experience tearing down their protective barriers and shit...to experience this fully like I do.
Reason, inhibitions, let down your guard. Be overwhelmed. The state of just letting go.
Photo by Kim Sølve
The ongoing journey of TRP is one of spirals and manifestations both tribal and cerebral. What is different about TRP now versus the birth of TRP?
I know on one hand I understand a lot more and on one hand a lot less. It seemed easier to understand more at the beginning of TRP. There was a spark to get it out.Whereas now it seems harder to understand what I'm doing and why. The more it comes out the purpose is lost which is hard to deal with. Every new path create more paths. Each question creates more questions.
Whilst there is this feral animalistic, almost primal nature about TRP there is still machinery involved which pulls us back into the realm of reality again even jarringly. What is your relationship with the machines and tools you use to create your music and is there an element of self betrayal in needing that aspect of modernity or are you comfortable with their uncomfortable alliance?
Some of the tools are quite powerful, like spiritually. But in relation to modern machines etc I don’t think about it too much. Not much thought at all really. Obviously if I could I would use nothing. Put two rocks and bang them but no, I don't think too much about what we are using to make our music. It's the end result that's most important not what we used to make it.
In July you will be embarking on your first ever Australian tour. What can fans expect? And do you, yourself have any expectations?
First off its amazing to go to other side of country. Ritualistically I'm not sure. It's like therapy and overpowering. I've never been to the southern hemisphere before so that is amazing to get to do that. It will be sweating and dirty for sure.
Beside working with Nordvargr this year, is there anything you're working on with trp now?
I'm working on 2 eps at the moment and a more ritualistic ep which should be out September/October. I'm also working on our next song based album (the last one took 4 years so we have some time ha) plus other collaborations all around in the works.
Trepaneringsritualen will embark on their debut Australian tour this July and it's bound to be an unmissable performance.
ALL DATES:
JULY 12, THE DEN, PERTH
JULY 13, CROWBAR, SYDNEY
JULY 14 THE TOTE, MELBOURNE
JULY 16 THE OLD BAR, MELBOURNE
But you'll find me here 👇
The T × R × P curse descends on the Southern Hemisphere, courtesy of UMACollective and ALT Events.
Friday, March 29, 2019
[WATCH] Kollaps // 'Fleshflower'
Australian post-industrialists KOLLAPS are a three piece creating a unique brand of primitive noise "intended for degenerates and outsiders". The bands' distinctive primordial tones are created using appropriated waste materials like scrap metal, raw plastics and steel plates combined with blistering percussion, bass and vocals. This is no empty "industrial" gesture, for the band this process of creation facilitates the literal use of postmodern society against itself.|
Mechanical Christ, the bands' sophomore release, is a conceptual continuation of its predecessor Sibling Lovers. This release sees Kollaps further their exploration of the inherent societal sickness of our times, one that manifests itself in the debasement of individual morality. Themes of exploitation, vengeance, drug addiction, paranoia and slave labour are part of a dissonant, inverted morality play. Testament to the bands' evolving conceptual depth are the overarching themes of love, life and death that offer a sense of shared experience in the discomfort of the universal human experience. Known for their violent and nihilistic stage performances, this recording encapsulates with harsher clarity the visceral confrontation that is Kollaps' live act.
Mechanical Christ was recorded and mixed over a two-month period at Aviary Studios by Mike Deslandes, and mastered by James Plotkin/Plotkinworks. A journey into the desperation and lack of resolve that is both the crux of modern social ills and at the very heart of the human condition.
Thursday, December 20, 2018
Puce Mary // The Drought
Building from a reputation of arresting live performances and critically acclaimed releases Puce Mary breaks new ground with The Drought, evolving from the tropes of industrial and power electronics to forge a complex story of adapting to new realities. Remnants of noise still exist, sustaining the penetrative viscerality offered on previous records, however The Drought demonstrates an intention to expand on the vocabulary of confrontational music and into a grander narrative defined by technical and emotional growth.
Bringing together introspective examination with literary frameworks by writers such as Charles Baudelaire and Jean Genet, Puce Mary’s compositions manifest an ongoing power struggle within the self towards preservation. The traumatised body serves as a dry landscape of which obscured memories and escape mechanisms fold reality into fiction, making sense of desire, loss and control. The Drought presents both danger and opportunity; through rebuilding a creative practice centred on first person narrative and a deliberate collage of field recordings and sound sources Puce Mary injects an acute urgency across the album seeking resilience.
“To Possess Is To Be In Control” makes use of lyrical repetition as an ambiguity of two selves, or a divided self, attempting to consume one another, while “Red Desert,” named after Michelangelo Antonioni’s 1964 film, portrays the individual subsumed by surrounding environmental forces. The seven-minute epic “The Size of Our Desires” acts as the emotional tipping point of the record; amongst the ominous drone and dense feedback flutters almost-beatific melodies, while the lyrics reveal a romantic call to be swept up in the midst of an increasingly uninhabitable world.
Rather than escape, The Drought dramatises a metamorphosis in which vulnerability is confronted through regeneration. Noise and aggression no longer act as an affront to react against but part of a ‘corporeal architecture’ where space, harmony and lyricism surface from the harsh tropes of industrial music. The Drought chronologises a transformation through a psychological famine, new ways of coping akin to plant survival in a desert – to live without drying out.
The album is mastered by Rashad Becker, featuring cover art by Torbjørn Rødland.
Bringing together introspective examination with literary frameworks by writers such as Charles Baudelaire and Jean Genet, Puce Mary’s compositions manifest an ongoing power struggle within the self towards preservation. The traumatised body serves as a dry landscape of which obscured memories and escape mechanisms fold reality into fiction, making sense of desire, loss and control. The Drought presents both danger and opportunity; through rebuilding a creative practice centred on first person narrative and a deliberate collage of field recordings and sound sources Puce Mary injects an acute urgency across the album seeking resilience.
“To Possess Is To Be In Control” makes use of lyrical repetition as an ambiguity of two selves, or a divided self, attempting to consume one another, while “Red Desert,” named after Michelangelo Antonioni’s 1964 film, portrays the individual subsumed by surrounding environmental forces. The seven-minute epic “The Size of Our Desires” acts as the emotional tipping point of the record; amongst the ominous drone and dense feedback flutters almost-beatific melodies, while the lyrics reveal a romantic call to be swept up in the midst of an increasingly uninhabitable world.
Rather than escape, The Drought dramatises a metamorphosis in which vulnerability is confronted through regeneration. Noise and aggression no longer act as an affront to react against but part of a ‘corporeal architecture’ where space, harmony and lyricism surface from the harsh tropes of industrial music. The Drought chronologises a transformation through a psychological famine, new ways of coping akin to plant survival in a desert – to live without drying out.
The album is mastered by Rashad Becker, featuring cover art by Torbjørn Rødland.
Sunday, September 9, 2018
KOLLAPS ANNOUNCES EUROPEAN TOUR 2018
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KOLLAPS EUROPEAN TOUR ANNOUNCED
Since 2015’s debut EP Heartworm, Melbourne industrialists Kollaps have continued to refine their brand of harsh and viscerally raw post-industrial noise. Their hard hitting release SIBLING LOVERS, an LP that intensifies the conflict between the dichotomy of confusion and control cemented what claws at the core of Kollaps’ sound.
The bands' distinctive sound, jarring textures and crude tones are created using re-appropriated waste materials like scrap metal, raw plastics and steel beams. For the band, this isn’t an empty gesture but instead a way to quite literally use the detritus of postmodern society against itself. Kollaps continue to push the traditional boundaries of what it means to be a "band" whilst engaging the audience in an audible blood-letting and physical exorcism that invokes all the senses.
The bands' intensity and provocation as performers has built Kollaps a reputation for both ferocious live shows and confrontational performances. Their tyrannical stage presence and strident energy continues to steadily attract raucous crowds around Australia and Europe. Kollaps have proved themselves alongside some of the best local and intentional underground performers [Brighter Death Now, Trepaneringsritualen, Youth Code, Armour Group, Military Position, Operant].
This October sees Kollaps embark on a savage European tour of 13 countries and will also see them play WROCLAW Festival in Poland alongside heavyweights like Pharmakon, The Soft Moon, Blixa Bargeld & Teho Teardo and Monolith.
KOLLAPS
is
Wade Black
Damian Coward
Robin W. Marsh
is
Wade Black
Damian Coward
Robin W. Marsh
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