Tracks: May 28th, 2018

The run of exciting show announcements we’ve been detailing on the podcast just keeps on going, with the unveiling of a reprise of Clan of Xymox’s North American tour. Ten more dates are on the docket in the fall, focusing on the west coast and including Vancouver! Regardless of the ups and downs of the band’s latter era work, their early catalog remains an unimpeachable force in the ongoing history of darkwave, as we recently discussed in our commentary for Medusa. Despite our grizzled fossilgoth statuses, neither of us have ever caught Xymox live, and them passing through our city during what we’ve dubbed the Year of Darkwave is most fortuitous. On with this week’s Tracks!

Schwefelgelb: Cumulously disruptive.

Caustic Grip, “Burn feat. Veronica Sawyer”
Tip of the hat to Michael from Chrome Corpse for the hot lead on new Australian electro-industrial act Caustic Grip, who just compiled several previously released tracks into a single release via Bandcamp. The project’s name certainly displays one of their major influences, but we’re getting some pretty serious 90s dark electro in the mix on these songs as well. We’re especially enjoying some of the choices in percussion sounds used on “Burn”, adding some interesting flavour to a track that built around space and mood.

Collide, “Winter Kills”
Did you ever check out our commentary on Collide’s classic 90s darkwave/triphop release Chasing the Ghost? One of the things we talked about on it was how perfectly kaRin and Statik can do torchy when they feel like it, and boy howdy did they feel like it when they decided to cover Yaz’s “Winter Kills” for new remix/b-sides/covers release Mind & Matter, the companion to last year’s Color of Nothing. Production and performance are on point as they always are with Collide, serving you a blast of frosty torchsong realness just in time for summer.

Daniel B. Prothese, “Hoheren ebene”
The new solo record from Daniel B shows just how far afield the interests of 242’s members lie. It’d be difficult to find something more removed from what’s come to be recognized as 242’s home turf than the bright and melodic fields of pastoral synths which make up this, the opening track on his new HollEKtroKraut​​/​​HellEctroKraut LP. While the “Kraut” in the title is certainly earned, with loving homages to Schulze and Neu! abounding, we’re not so sure about the “Holle” part; pieces like this one sound utterly heavenly.

Altstadt Echo, “Exhumed I.III”
Some dark and chilly techno from right out of Detroit courtesy of producer Altstadt Echo. With an equal amount of the funerary dust connoted by this EP’s graveside art and a light swing to the beats, the Exhumed Tapes release is present without ever becoming oppressive. Should appeal to fans of Lorn and mid-period Haujobb alike.

Schwefelgelb, “Fokus (SARIN Remix)”
Two of the shining lights of the current club-based EBM movement come together for a dancefloor slayer. The definitive element of Schwefelgelb’s recent productions has been the bounce they put into their rubbery bassline, which makes for a hell of a starting point for SARIN’s aggressive take on technofied EBM. Released on a 12″ by Khemia Records (the other side of the release is a track by Blind Delon remixed by HIV+), it’s another testament to two modern body acts that are on top of the proverbial game right now.

Donna Haringwey, “Lester’s Goodbye”
More great lo-fi electronics from Germany’s Smashing Tapes. British producer Toni Quiroga offers grimy, echoing, and mean tunes which draw upon minimal wave, EBM, and power electronics. We’re not entirely sure of the connection between a scraping blast of violence like this and the brilliant theorist from whom the project takes its name, but she can certainly add this to her CV in terms of cyberpunk cred alongside the Ghost In The Shell 2 shout-out. “Staying With The Trouble”, indeed.

We Have a Commentary: Collide, "Chasing the Ghost"

On this supporter-selected commentary podcast, Bruce and Alex are discussing the enduring appeals of Collide’s sophomore record, “Chasing The Ghost”. The nexus of goth and industrial, the import of Statick’s engineering chops, and the elegance of kaRin’s vocal restraint are just some of the topics covered. It’s time to get down to one of the grooviest darkwave records of all time on this month’s We Have A Commentary! Don’t forget, you can rate and subscribe on iTunes, Google Play Music, download directly or stream from the widget down below.

Tweaker, “Call The Time Eternity”

Tweaker - Call The Time Eternity

Call The Time Eternity

True, Chris Vrenna’s Tweaker has always carried the reputation of being one of those intermittent “producer’s projects”, a free-form playground to which a well-known studio wizard returns to in their spare time between work with larger bands, both in the studio and on the road. However, Vrenna’s always ducked the major pitfall of most projects of that ilk (wonderful, super-detailed production, but short on memorable tunes) by changing the sound, feel, and even standards by which Tweaker’s been judged not with each album, but with each track. Guest appearances and quick flips between breaks, stormy guitar and moody washes made the first two Tweaker records slippery beasts. Third outing Call The Time Eternity feels much more grounded, a tactile and directly percussive record which forthrightly grapples with anxiety and frustration.

What’s immediately noticeable about Call The Time is how much more of its spotlight is on the rhythmic dimension of Vrenna’s work than before. The swampy guitar and wavering textures which were prominent on The Attraction To All Things Uncertain and 2 A.M. Wakeup Call are present, but muted in comparison to the clanging, jarring, yet often undeniably funky passages cooked up here. The brief, bleepy instrumental “Remorseless” from 2 A.M. Wakeup Call perhaps pointed towards this record’s mode: furtive, incessant play between percussion and low-pitched synths that accent more than lead. “A Bit Longer Than Usual” feels like something of a roadmap to the overall aesthetic: a nodding beat grows more angular and menacing as extra kicks and growling pads are overlaid, but the matter-of-fact forward propulsion of the track remains.

As I said, despite the clean, unpretentious presentation of these tunes, there’s some swing to the rhythms which keeps things from becoming too clinical despite the dampening of the “organic” elements in Vrenna’s toolbox. By the time groovy mid-album interlude “Getting Through A Bad Night” rolls around, instrumental hip hop legends like DJ Shadow and RJD2 are the names which come to mind, rather than the IDM comparisons which you might expect from a “Chris Vrenna gets into deep drum programming” record.

There are a couple of exceptions to Call The Time‘s central modus operandi. Vrenna concocts richer platters to suit guest vocals from Jessicka Adams (of Scarling) and Karin (of Collide), all woozy strings and filters, but with a surfeit of fluttering drum fills that keep the focus on the album’s rhythmic dimension. Less deft is the marriage of the album’s core elements and some seething, chuggy guitar on “Areas Of The Brain” (which brings to mind Marilyn Manson, the outfit with whom Vrenna recently finished a tour of duty), which feels like something of a misstep.

While less lush than either previous Tweaker record, Call The Time Eternity is no less considered. Indeed, its themes of stress, insomnia, and general mental disquiet (not new topics of Tweaker work but never so prominent than here) give it a singular focus that makes it far more cohesive listen than its predecessors. This makes for a tense and uneasy record (other track titles: “This Is Ridiculous,” “I Don’t Care Anymore,” “Wasted Time”), but it’s by no means an unpleasant one. Vrenna’s stripped-down approach holds up from a variety of angles, and it’s exciting to hear one of electronic music’s most varied producers venting via rhythm.

Buy it.

ID:UD’s Overlooked and Honourable Mentions

So, with our actual Top 25 Albums of 2011 list starting Wednesday, it behooves us to do a little house cleaning beforehand. This was a great year for records, and with so many good releases coming out there’s always going to be a few that slip under the radar, or that we liked but just weren’t quite up to the level of the stuff we’re throwing on our numerical year end list for one reason or another. Those albums still deserve some shine, so we figured we’d collate a list of overlooked and honourable mention LPs before we start talking top 25 Turkey (or in our case Tofurkey) tomorrow. Had this year not been so crazy strong over all any of these albums might have made our Top 25, so kudos to all the artists mentioned herein, we’re looking forward to hearing what you do next!

[:SITD:], Icon: Koru [Accession/Metropolis]
Very few bands do EBM as sweeping as [:SITD:], and while it didn’t depart significantly from the sound established on their first three albums, Icon: Koru didn’t fail to deliver either. With some excellent mid-tempo dancefloor songs, and at least one all-out banger in the form of “State of Tyranny” it’s a quality club record that is worth giving some spins outside that context. Read our review.
“Code Red”

Stendeck - Scintilla
Stendeck, Scintilla [Tympanik]
A sprawling and emotional affair which perhaps runs a little long but is still thoroughly enjoyable. A lot of records in the post-Gridlock era aim for this type of synthesis between rhythmic noise and more melodic symphonic elements, but few hit the landing as well as Stendeck has here. Kudos.
“Crimson Cloud Cascade”

The Gothsicles, Industrialites & Magic [WTII]
As friend of the site Matt Pathogen pointed out in his write-up, this might be the first time The Gothsicles have made a record that fully expresses how fun they are minus the help of their live show. Don’t mistake their use of humour for a lack of substance: far from being a joke band they’re plowing ahead into territory few others in the genre have touched.
“My Guy Died (Level 12 Human Sorcerer)”

Covenant - Modern Ruin
Covenant, Modern Ruin [SPV/Metropolis]
While Modern Ruin didn’t quite have the staying power it seemed to show upon its release early this year, it was still a welcome return to sleek efficiency and incessant rhythms after the somewhat indulgent Skyshaper. The addition of Daniel Myer to the ranks brought the extra textures we’d hoped for without deviating too far from the classic Covenant sound.
“Judge Of My Domain”

Displacer - Night Gallery
Displacer, Night Gallery [Tympanik]
A characteristically strong and balanced outing from one of Canada’s best. From downtempo to technoid and back again, Michael Morton covers all the bases while maintaining the thread of his laid-back, beautifully chill melodies.

Autodafeh, Act of Faith [Scanner]
While some may scoff at the band’s similarity to Front 242, no one else is mining that rich vein of material for inspiration with as much panache as these industrious Swedes. A nice switch from all the Ebb and DAF worship of the new oldschool EBM scene, Autodafeh served up an effective and modernized iteration of a classic formula on Act of Faith. Read our review.
“Heaven Screams”

Gnome & Spybey - Beyond Willie's Place
Gnome & Spybey, Beyond Willie’s Place [Tourette]
The second release from a wonderful new project from the legendary Mark Spybey. His mastery of ambient waves is in full effect, but there are also some gorgeous, crystalline melodies (possibly the contribution of collaborator Tony D’Oporto) which almost recall Coil. Recommended.
Visit G&S’ myspace to stream some tunes

Arzt + Pfusch, Lictor Evaporated [Complete Control Productions]
One of the late 90s most beloved cult industrial acts, A+P returned to their original line-up for their anticipated 2011 release with a new orchestral bent inspired by Warhammer 40K of all things. Their sardonic sensibility still intact, Lictor Evaporated was a grimy godsend for the dark electro-industrial faithful, and another top notch release for CCP, undoubtedly ID:UD’s breakout label of the year. Read our review.
“Fall of an Empire”

Psychomanteum - Oneironaut
Psychomanteum, Oneironaut [Cyclic Law]
A pleasantly rich and warm dark ambient debut. It’s keeping our appetite for a new Kammarheit record at bay, but Oneironaut‘s merits in and of itself shouldn’t go unnoticed, heralding the arrival of a strong new artist in the field. One to watch for.
“To Dust”

Ghost & Writer, Shipwrecks [Dependent/Metropolis]
Had we done a list of the best songs of the year, G&W’s “From Hell” (or its equally good remix by Iris) would most certainly have been near the top. Seabound’s Frank Spinath and The Weathermen’s JimmyJoe Snark III came through with a pleasantly full release somewhere between EBM and synthpop, hindered solely by it’s relative brevity. More please, and soon!
“From Hell”

Collide - Counting To Zero
Collide, Counting To Zero [Noiseplus]
A subdued but no less effective iteration of the classic Collide formula: exquisitely produced compositions which drift between darkwave and trip-hop, guided as always by KaRIN’s seemingly effortless, lush vocals. Deep, classy, seductive. Read our review.
“In The Frequency” (teaser)

Enduser, Even Weight [Ad Noiseam]
Lynn Standafer is a thoughtful guy, as evidenced by his latest release as Enduser, a complex and layered missive that breaks out of the sturm and drang breakcore ghetto. Featuring numerous remixes and collaborations and several songs that drop the rapidfire breaks in favour of driven atmospherics, it’s certainly one of the best albums of it’s kind this year.

Access To Arasaka - Geosynchron
Access To Arasaka, Geosynchron [Tympanik]
Given that the fourth LP from one of our favourite current artists was released a scant seven days ago, this is meant to serve as more of an acknowledgment of Geosynchron than any informed summary. On first passes it seems a far more quiet and subtler record than the bold lead single “Lysithea” implied; we’ll keep listening.

Thanks for reading! ID:UD’s End of Year coverage keeps rolling tomorrow as we begin counting down our top 25 records of 2011!

ID:UD 10 Best Videos of 2011


So, as my esteemed colleague Mr. Lord alluded to in yesterday’s tracks post, we got hella year end pies in the oven at ID:UD headquarters, and they’re baking up all golden and crispy. Consequently, much of my time has been dedicated to list writing, sending long argumentative e-mails to Bruce and revisiting records I’ve already listened to and written about to ensure that my recollection of their quality is accurate. I’ve had little to no time for anything that just dropped (although I’m gonna try and squeeze in the new Access to Arasaka), and so, finding myself in need of a post for today, I’ve decided to fall back on the internet’s friend to phonin’ it in, Youtube. Please enjoy this unsorted list of the 10 best videos of 2011 that pertain to the coverage of this site, with selected commentary by me, your humble pal.

Speaking of commentary, and I promise to keep this brief, can we please, please have fewer misogynistic and xenophobic videos in our end of the pool next year? I ain’t naming names (if you follow the scene you know who I’m talking about, we’ll leave trying to start internet beef via editorials to Side-Line), but at least two major artists lost my support as a DJ and a blogger this year, not just for putting out dumb, women and minority hatin’ videos, but for their responses to legitimate criticisms of those videos. Guys, when your only rebuttal is to dismiss critics of your controversy baiting imagery as being “haters”, what you are actually saying is “I had nothing to say creatively with this and I am unable to defend my artistic decisions.” Hey, remember when Our Thing was an alternative to the mainstream culture of hatred? So do we.

I would also like to note that although it falls well outside of this site’s purview, the most incredible science fiction video of the year is most definitely The Weeknd’s “The Knowing”. Animated pseudo afro-futurist insanity with a robot soul soundtrack? Yes, yes, a thousand times yes.

The Gothsicles, “Save Dat Mermaid”
I may have never played Goonies 2 for the Nintendo Entertainment System, but thanks to the clip for “Save Dat Mermaid” I no longer have to. If it ever comes up at a party, I can confidently bluff my way through the topic by mentioning the Eskimo and the gangster who looks like an 8-Bit version of Walt’s Heisenberg disguise from Breaking Bad before making my way back to the buffet table to eat like 50 pounds of baby carrots. Thanks The Gothsicles!

IAMX, “Bernadette”
Although the videos are identical, I must say I’m partial the german language version of IAMX’s little slice of cabaret pop “Bernadette”. Doing a stereo camera style video isn’t an idea I recall seeing previously, and fits the old timey feel of the track to the proverbial T.

Collide, “Mindgames”
As a dude who dressed up as Magritte’s “Son of Man” for Halloween, I’m pre-disposed to enjoy Collide’s tribute to the famous French artist. A typically lush bit of business from the duo, who’ve been excelling at this sort of thing for quite a while now.

Trent Reznor, Atticus Ross and Karen O “Immigrant Song”
In spite of my general hatred of Zep, I do have a soft spot for “Immigrant Song”. I have an even softer spot for Trent Reznor and for anything that is likely to cause baby boomers to froth at the mouth with outrage. Nice digital distortion style vid from Girl with the Dragon Tattoo director David Fincher, who some of you may recall helmed such classics as Aerosmith’s “Janie’s Got a Gun” and George Michael’s “Freedom 90” before he got into big screen pictures. Unlike anything else on this list, I can’t embed it, so I’ll send you over to venerable Canadian print rag Exclaim! for a boo. Edit: some enterprising soul has uploaded the video to youtube, enabling me to share it here!

Henric de la Cour, “Dracula”
Former Strip Music and Yvonne singer De la Cour has that weird Nick Cave ugly/hot vibe about him, your appreciation (or lack thereof) of which will determine how much you like the video for his amazingly catchy single “Dracula”. We dig it, it’s ultra minimal as approaches go but has a nice hypnotic vibe.

Marsheaux, “Can You Stop Me?”
Greece’s synthpop queens Marsheaux get progressively better and better with each passing year, and despite not having a record (or even a single for that matter) to promote in 2011 put out this fabulous and fashionable clip for our enjoyment. Can they just hurry and finish up an album? We’re friggin’ starved over here.

Gary Numan, “The Fall”
Man this song is great, so great in fact that Bruce dedicated a whole paragraph to it in his review of Uncle Gary’s Dead Son Rising. Although the terrifically entertaining video for Numan’s collaboration with Battles got a lot more digital ink in 2011 (Sidebar: Battles are ELO for indie kids. Discuss.), this one perfectly captures the nexus of rawness and smooth production that the song rides on.

Left Spine Down, “X-Ray”
One of the things Vancouver’s LSD have had going for them for a while now has been very tight looking promotional imagery to go with their music, the importance of which can’t be ignored. We’re big fans of the group’s 2011 album Caution and were equally psyched to see such a cool, pro looking video to accompany the first single, a fitting accompaniment to the added production sheen they’ve added to their sound with the help of Dave Ogilvie.

Haujobb, “Dead Market”
Okay, so we mentioned in our review how appropriate the video for Dead Market is as a reflection of Haujobb’s precise, mechanical approach to the music on New World March, and that alone makes it worthy of inclusion on this list. Also, this is ID:UD, where we will ALWAYS find a way to talk about Haujobb. I don’t care if it’s an article about the sophism inherent in the arguments used to defend Nazi imagery in the neo-folk scene, I’m shoehorning in a reference to “Penetration”, god damn it.

The Present Moment, “Intrigue”
You ever read Philip K Dick’s The Man in the High Castle? Someone involved in the making of the video for the amazingly good single off of TPM’s Loyal to a Fault sure did, and it pays dividends. See folks, this is how you can make effective, thoughtful use of fascistic imagery in a fashion that actually says something and isn’t just for shock value. Top marks from us.

So Fragile #4: Falling

As much as we enjoy ferreting out new club tracks and debating the value (or lack thereof) of Terr0rganizm-X’s new record, we also like to kick back with a pot of Earl Grey and enjoy some more somber, autumnal fare. This mix is designed for late-night reading, bus rides or walks around your neighbourhood. Throw it on your iPod and have it handy for moments of quiet reflection. Or fuck to it, we don’t care, we just put these things out there. Stream or download at the bottom of the post.

I Die: You Die mixtapes are composed of 100% purchased (or free from the artist or label) music. Please show some love to the folks who so enrich our little lives with their efforts by buying a CD or a download won’t you?

Comaduster – Giving in to the Violence
A symphonic track from Edmonton’s Comaduster, this one appears on his free to download Slip Through album. Homeboy works for BioWare, and many of his tracks have appeared in such noted videogame franchises as Mass Effect. Listen careful for the Grape Lady sample.

Absolute Body Control – Sorrow (Daniel Myer Version)
It’s a given that any ID:UD post has a 50% chance of including a reference to either Dirk Ivens or Daniel Myer. So with that in mind, here’s a two-fer off of ABC’s Sorrow EP, which came free with an issue of Sonic Seducer (ain’t no loser).

Kirlian Camera – I Gave You Wings, I Gave You Death

What were we just saying about artists we find ways to shoehorn into things? Bruce just saw them, Alex is jealous, they have a new album on the way. Expect to hear about that one, like, a lot. Here’s a b-side from the recent Ghlóir ar an Oíche EP.

Saltillo – Grafting

Artoffact has just reissued Saltillo’s excellent neo-classical by way of trip-hop record Ganglion, remastered even. Very pleasant chill-out music that well pre-dates all this steampunk nonsense, so we don’t feel bad giving it a hearty recommendation.

Collide – Counting to Zero
Like we alluded to in our recent review, Collide is perfect for autumnal listening. Go read the review, and for god’s sake, buy the new album and support some of our things long standing independants.

Balam Acab – Heavy Lifting Things
A bit out of our usual purview, but we listened to a lot of garbage drag records this year, and it was a real pleasure to see something as pretty and accomplished as Balam Acab’s Wander/Wonder emerge from the witchhouse wilds. This one’s getting a lot of press, and deservedly so.

Collide, “Counting To Zero”

Collide - Counting To Zero

Counting To Zero
Noiseplus, 2011

“In the Autumn a paler rose blooms on the wood’d lee side;
In the Autumn a young man’s fancy darkly turns to thoughts of Collide.”

Yeah, that’s right, I’m abusing Tennyson’s trochaic octameter as an intro. Whatever, the point is that it’s autumn, the perfect time to slip into a new Collide record. It’s somewhat remarkable that this is only Collide’s fifth proper studio LP when they’ve been such a fixture in the dark music scene for so long – it’s been 15 years since their debut LP, Beneath The Skin. But, before anything else, they’re an act known for painstaking craftsmanship when it comes to the most minute aspects of their compositions’ production and atmosphere (as Alex said, check Statik’s credits in the major music industry), a calling which certainly accounts for the time it takes to properly assemble albums as layered as Collide’s.

It’s that slavish devotion to perfection when it comes to texture which has prompted me in the past to use Curve as a first point of comparison when trying to describe Collide. In fact, your intrepid reporter would like to note that he went on record (in traditional dead-tree media, no less!) as calling Collide “the post-apocalyptic inheritors of Curve’s legacy, dipped in shiny black paint and slinkier than a Slinky” several years before their first collaborations with Curve’s Dean Garcia. That comparison may no longer be as useful as it once was, however. As Counting To Zero indicates, things have changed over the years in Collide-land. There’s a subdued feel to the new record, and I mean that in the best way; while not relying on the sonic extremities and oodles of overdrive-laden guitar of their early work, songs like the spacey title track and penultimate “Slow Down” are as evocative as anything Collide has done.

Much of Counting To Zero, especially its first half, builds upon the swampy, loungey feel of 2008’s Two-Headed Monster. It’s an ingredient which has always been present in Collide’s gumbo (good work, Bruce – swamp and gumbo – keep torturing that analogy), but has come more to the forefront the longer it’s been simmering (nailed it!). It’s a good look for Statik and KaRIN, feeling very much like a natural evolution away from their noisier days. Collide’s music has always been “deep”, however one wants to take that term (the trip-hop elements of their sound, for example, are still in full effect), and it’s encouraging to see them finding new ways to stay true to and explore the particular combination of mystique and virtuosity which has made them such an endearing and enduring force for all these years.

Buy it. (Plug: I’ve purchased the bulk of Collide’s discography from the band’s own webstore, which they run entirely by themselves. They always have loads of bundle deals going on, they package everything with love and extra goodies, and are hands-down one of the best examples of bands delivering their stuff direct to their listeners in these wild and woolly days of contemporary record buying. If yr thinking of copping Counting To Zero or anything else by Collide, do so straight from the source. You’ll be glad you did.)

Tracks: September 29, 2011

Dude, it’s about to get hella busy around these parts. In the next couple of months we’re gonna see releases from a TON of bands that are pertinent to the scope of ID:UD’s coverage, a short and non-comprehensive list just off the top of my head includes Skinny Puppy, iVardensphere, Aesthetic Perfection, Haujobb, Auto-Auto, Kirlian Camera, Javelynn, The Break Up, Pop Will Eat Itself, VNV Nation and probably like 50 more I’m forgetting. We’re still playing catch up from our vacations, so most of the stuff we’re talking about this weak is just recently released, but soon tracks from the aforementioned are gonna start leaking (some already are), meaning that you can expect us to be putting up links to a lot of ’em right here under the banner of our “Tracks” posts, complete with pithy banter and insightful commentary. Aggregating links from Youtube and Soundcloud and calling it content is one of the cornerstones of our operation here at I Die: You Die, so sit back and relax. Let us do the work.

Collide, “Mind Games”
Collide have been doing this sort of thing for over a decade and a half at this point, and they do it well. I’d say the hallmark of all Collide songs is impeccable production and programming courtesy of Statik (who has apparently worked with like, Prince and Christina Aguilera and stuff, seriously, peep his discogs entry), and their new single from the forthcoming Counting to Zero is no exception. Video is pretty neat also, lots of visual references to Magritte, you know, the “This is Not a Pipe” guy.

The Present Moment, “The Start”
It’s out, it’s out! We’ve been psyched on TPM’s second album Loyal to a Fault for quite a while, in fact, I think Scott Milton is the artist we’ve marked out for hardest since we started ID:IUD waaaaaay back in June *ahem*. At any rate, the album (made in collaboration with Philipp Münch of Rorschach Garden and Synapscape, more on him in a minute) is out now, and getting great press if you need a second opinion.

Synapscape, “Revolving Horse”

Speaking of Philipp Münch, he and Tim Kniep were, in their guise as Synapscape, amongst the first wave of Ant Zen powernoise artists back in the mid-90s, and they’re still plugging away in 2011. I haven’t heard the new record Traits yet, but I’ve always liked their really expansive and full sounding take on rhythmic noise, and this song figures nicely into that tradition.

32crash, “Dawning Sun (the sound of 32c)”
For those keeping score at home, this is the Jean-Luc De Meyer project with the science fiction theme where he collaborates with the guys from Implant, not the one where he sings poems by Beaudelaire (although I like that one also). This one is courtesy of the good folks at Side-Line, who due to their associations with Alfa Matrix will always have the jump on anything the label puts out, but we won’t hold that against them, petty though we are. I’d like to think that subtitle of this song is a reference to Confetti’s “Sound of C”, because that track is straight classic. Where’s the New Beat revival at?
32CRASH – “Dawning sun (the sound of 32C)” (Free download) by Side-Line

Gary Numan, “The Fall”
Something We find frustrating here at ID:UD is that despite the fact that most music media have come around to the idea that Gary Numan is really an important figure in the development of electronic and new wave music, they aren’t even slightly interested in anything new he does. For example, it’s a lock that if Gary appears on stage or does a track with a contemporary alternative artist (as he has with Nine Inch Nails and Battles respectively) it’ll be news on say, Pitchfork. But they couldn’t care less about his new album, either to announce it, or review it. It’s a particularly irritating form of lip service, in that it gives the impression that the only reason those outlets really pay any attention at all is that Mr. Numan has quite deservedly been cosigned by artists they do care about. At any rate, I’m listening to Dead Son Rising as we speak, and enjoying it. You can expect that we’ll be talking about it some more in the near future.