Five years ago, I began my occasional series The Rearview Mirror, with a look back at the Pitchshifter breakthrough www.pitchshifter.com, an album I’ve loved since release, from a band I’ve now (as I write this) been following for nearly a quarter of a century – but since they broadly had ceased releasing new material by […]
After a period this summer where I’ve not really been able to post too much, I’m back now for the autumn with a whole host of (hopefully) interesting posts, articles and interviews for your reading pleasure. I’m starting that with an interview with a new band that is worth your time catching up with.
In conjunction with my talk at Nine Worlds about music and geekery (Tuesday Ten: 341), I wanted to feature The Gothsicles. But rather than just talk about them, I wanted to find out a bit more about this group and their focus specifically on gaming and industrial music.
Earlier this year, I made a commitment to covering more of the UK “scene” across this year (and beyond). Life has rather got in the way recently, meaning that I’ve not been able to post as much as I would have liked, but things are returning to normal a bit, thus I can resume with […]
Trying to do a series on British Industrial has actually proven a little more difficult than I perhaps expected, partly my own fault due to issues with time and other commitments. But, following on from Talk Show Host: 043 with ded.pixel, I’m now continuing the series with a band with a near-unpronounceable name for many.
While the release schedules are often clogged nowadays with anniversary re-issues, remasters and other ways to get us, the listeners, to shell out cash again for albums we already have, it isn’t often that what might be termed overlooked or controversial albums come in for the lavish re-issue treatment.
Sometimes, acts intrigue by way of what they don’t tell you. Creating an air of mystique around themselves, they leave you with just the music and perhaps scant details to work out for yourself what you are hearing, what you are experiencing.
One thing I’ve been conscious of in recent times – and I mused over on Into the Pit: 203 – is that the local, as in British, industrial scene doesn’t perhaps get as much coverage as it should. Part of that is the lack of outlets to do so. This site is far from the […]
As we accelerate into 2018, it is time to resume my interview series. The first one of this year talks to an act who are returning after a few years away, and resuming operations after an unexpected tragedy.
I’ve been fortunate here at amodelofcontrol.com this year to have been able to talk music and beyond with a great variety of bands and artists, all of whom are loosely involved with “our scene” in one way or another, and this includes bands both veteran and rather newer.
I’ve long had a fascination with Iceland. I first went there fifteen years ago (a week in a very wet September in 2002), and returned ten years later in equally formidable – but very different – weather conditions in late Spring, and have been pining to return ever since. That fascination with a country that […]
My preference for talking to interesting, progressive bands within what we do continues this week with Canadian industrialists Encephalon, as they prepare to release their third album We Only Love You When You’re Dead.
This week, I’m back to talking to someone I’ve wanted to catch up with for some time. As The Rearview Mirror: 010 perhaps suggested, I’m a long, long time fan of the work of Dean Garcia, both of his work with Curve, and his more recent work under the SPC ECO name.
As well as talking to the legends of our wider industrial scene (see yesterday’s interview with Bill Leeb, for example, among others), I’m also keen on hearing the voices of new and younger artists. As Alex Reed of Seeming noted the other week, we can’t always look at the past.
This was an interview I’ve wanted for amodelofcontrol.com for as long as I’ve been doing interviews. I’ve followed, and listened to Bill Leeb’s work in Front Line Assembly (and to a lesser extent in his other projects) for well beyond two decades, and have long been curious about a number of things.
It isn’t often that I get the chance to interview someone who can justifiably be called an industrial legend. That said, there aren’t many bands in any genre, never mind industrial, that are like Paul Lemos’ band Controlled Bleeding.
Conducting e-mail interviews – in effect a set of questions that then get answered in turn – can be a tough business. It’s difficult to tell whether you have the right tone in the questions, and of course it is also easy to be misconstrued. But then, just once in a while, you get measured, […]
Some artists never sit still, and continue to innovate, moving their sound forward by involvement in new projects and new concepts.
Nearly five years ago, I stumbled across a fascinating live electronic act opening the Saturday afternoon at BIMFest in Antwerp.
The past is a strange place, and happily there are some people within our scene that can remember – but also helped to create those memories.