The career of Randolph & Mortimer has been a strange one thus far. While Sheffield-based, his earliest work slipped out unnoticed over here in the UK, and was picked up first by the European industrial media. amodelofcontrol.com first talked to them on Talk Show Host: 005 in summer 2013 (!), but had actually covered early […]
In one of those weird quirks that seem to happen more often than they should, two industrial bands from Vancouver (one featuring a previous member of the other) are releasing new albums within a couple of weeks of each other. One is decades into it’s career – and frankly don’t really have anything left to […]
2018 has continued, in our corner of the musical world, pretty much as 2017 left off. The sheer number of new releases has meant that for this site at least – a one person endeavour, in the main – it has been difficult to keep up, and pressures of real life (job, other commitments) have […]
Initially this year, I was left rather nonplussed by much of the music being released. I mean, much of it was good, but there was little that was really grabbing me. Things have changed, though, at least, and the problem in the second half of this year has been that great music has been coming […]
Sometimes writing album reviews, in particular, can be extraordinarily difficult. Interestingly, it is rarely bad or disappointing albums that fall into this category – those are much, much easier, as flaws are often self-evident and easy to pick out. No, it’s the really good albums that are the tough ones. How on earth do I […]
Perhaps this title is a little unfair. But in recent times, British industrial acts have, rather like European acts to a point, played second fiddle to a burst of creativity and style from North American acts, who seem to be dominating stages and DJ sets everywhere. As is often the way, these things happen in […]
Thirty-three years, twenty albums, countless singles, a few live albums, various re-issues. Various record labels (most notably associated with WaxTrax! and then later Metropolis (North America) and Dependent (Europe)). And, broadly, one instantly recognisable sound, the Ultra Heavy Beat that blusters in on industrial beats and rock guitars, but somehow sounds like no-one else.
I swear that as a reviewer, things are getting harder to define. What do I mean? The crossing of genres, the meshing of styles, is becoming so common as to make established genre descriptions almost defunct, and this is making the job of those of us that still write about music very much more difficult.
The cliché of the second album. It gets raised every single time, by just about everyone, but is it really a thing? I guess it depends on what happens with your first. If your first album isn’t great, though, will you have a chance to make a second? This second album expectation only really comes […]
How artists can change entirely, embrace a whole new body, as it were, has never ceased to be a fascination to me.
I can’t remember whatsoever when I first heard Cubanate. It was in my early teens, and was either Body Burn or Oxyacetalene first. And then lots more Oxyacetalene, as it was everywhere for a time. I do remember picking up the single for Joy in the rather awesome Badlands record shop in Huddersfield, though. You […]
Looking back at my various notes and posts about gigs over the years, it’s now the best part of seven years since I first discovered Blindness, thanks to a chance catching of a post by a friend linking to the video for then-single Confessions.
Over the years I’ve had a whole host of releases sent to me for review. Time is often a factor in whether I can cover releases in any detail – please bear in mind that I run this site alone, funded solely by my own income, and I have a full time job.
Over the last year or two of the nineties, and then a good few years into the new millenium, the hybrid of industrial and noise took over the club dancefloor in our scene. It was everywhere. Noise clubs sprung up, existing clubs had noise sets or entire noise floors. Even Huddersfield had a noise night […]
Covenant are perhaps in a strange position nowadays. Their days at the peak of the Futurepop “movement” – where they were one of the titans of the scene, something made by United States of Mind, and then rammed home by the skyscraping brilliance of Northern Light – are now well over a decade in the […]
A couple of years ago we were discussing the very evident trend of the time – that a new paradigm in industrial music seemed to be beginning. After some years of dominance of 4/4 rhythms, the same synth presets and a tiresome tirade of macho-bullshit lyrics and posturing, the tide suddenly shifted towards a disparate […]
This week, on part three, I turn my attention to the best albums of the year. I seem to say it every year, but really – 2015 has been an extraordinary year for alternative music, you’ve just got to have been looking in the right places to find some of it. Not all of it […]
The subject of death is a strange one in music. After all, none of us alive have personally experienced it, by the very virtue that we’re still alive. We might have been close to it, or lost loved ones, but we’ve not actually gone through the process ourselves. So perhaps uniquely for a subject used […]
In one of those occasional co-incidences that pop up in the music world, a couple of weeks back saw the release of new albums – comeback albums, if you will – from two bands who were overlooked in their prime and who only really gained critical respect in the years after they disbanded the first […]
I’ve covered the progress of London-based band BLiNDNESS for some time now – in fact, I first did so nearly five years ago, at the tail-end of 2010 when I covered their debut single Confessions on Tuesday Ten: 117, and then the first time I saw them live was the following summer at the Barfly, […]