It really is remarkable how time flies by so fast. This is Necro Facility’s third album, and their debut The Black Paintings dates back to 2005 (and second album The Room is already four years old now). To be honest, both of those albums were something of a solid effort in hero worship, though. Basically a take on classic Skinny Puppy, they had the creepy samples, the not-quite-right rhythms and electronics, the distorted vocals, but not always the songcraft. Still, they were something of an interesting anomaly, and when things went all quiet it was wondered if that was that – particularly as it appeared that the two members of the band, Henrik Bäckström and Oscar Holter, had been busy with other music (Holter in particular as a pop producer in his native Sweden).
I’ve seen a whole lot more gigs this year than I have in a while. I’m putting it down to being back in the heart of the action (i.e. London) and being able to get out to Montreal this year: plainly and simply I have access to so many more venues, and the reality is that many more bands are willing to play London than more, er, provincial locations up north. So, post-work on Thursday, I headed back down to Camden to a venue I’ve seen a fair bit of recently, and I have to say that I’m still not all that enamoured with it, either.
We appear to be in something of a transitional period in the scene nominally called “industrial”. Many bands I have looked upon as relative newcomers for some time have now been around for five or ten years, few new bands are coming through, and even the clubs and DJs appear unclear on what they want to play (this post on ReGen this past month articulates so well what I’ve been trying to say for a couple of years now), at times ignoring “industrial” and playing whatever form of dance music is “cool” with the drughounds at the time. Hence hearing seemingly more hard-dance, psy-trance and fuck-knows-what-else than actual EBM and industrial, the latter two relegated to mere sideshows in clubs that prominently advertise the genres.
I got wind over the weekend that the bar that I ran tcf in for five years is closing – initially it sounded like it was for good, but instead it’s apparently for a refurb that will see The Nelson in Sheffield close for eight weeks. So it feels like an appropriate time to look at songs about going out on the lash. Lets call this a concept Tuesday Ten. A night in the life. Read more “Tuesday Ten: 135: A Night On The Town”
Ok, so it’s my usual monthly roundup of ten songs you should hear. Or go back and listen to again if you have already. Read more “Tuesday Ten: 134: Tracks of the Month (June 2011)”
I’ve been meaning to go to at least one of the days of Wireless for a couple of years now – but I think really I was awaiting for the right lineup to splash my cash on – and the announcement of Pulp for this back before Christmas (god, that long ago?) sealed the deal. Well, I’d seen Pulp years ago – one of my very first live shows, at the Heineken Festival in Leeds in 1995 – but my girlfriend had never got the chance, so this was a good chance for me to revisit.
Read more “Memory of a Festival: 012: Wireless Festival 2011: Day Three”
After celebrating 25 years of “conceptual continuity” in 2009-2010, with the associated tour and best-of album, as we headed into 2011 the first signs of the next stage of KMFDM were revealed, in the guise of a couple of singles, and now a new album under the moniker of WTF?! – continuing with the age-old pattern of five-character album titles.
And going on those early singles – the non-album, three minutes of fury that is Day of Light, followed by the rampaging, sloganeering industrial metal of KRANK – there was high hopes for this album, these songs providing notice perhaps that KMFDM were continuing their rejuvenation and were going to provide a storming new album.