Posts Tagged ‘industrial music’

September 8, 2018: a new episode of The Anatomy Lesson at 11pm EST on CFRC 101.9 FM. breaking what is. Music by Ida Toninato, Heejin Jang, Gnod, Iron Fist of the Sun, Fallen Metropolis, Blue Chemise, Godflesh, + more. Check out the whole setlist below, tune in at 101.9 on your FM dial, stream at http://audio.cfrc.ca:8000/listen.pls or listen to the finished show on cfrc.ca or a special archive on mixcloud here: https://www.mixcloud.com/cameronwillis1232/the-anatomy-lesson-september-8-2018/

Ida Toninato – “Distance Raisonable” Strangeness is Gratitude (2016)
Blue Chemise – “Watcher At The Window” The Music Lesson (2017)
Fallen Metropolis – “Paranoid” Exile Or Death (2018)
Prurient & Hanged Mans Orgasm – “In The Ashes of Science We Fall” Unknowns (2017)
Iron Fist of the Sun – “Cold Wet Skin” We Can Yield Our Own Footsteps (2015)
Mario Marzidovsek – “Chemical Industrial Symphony” Half-Industrial Sound (1985)
Raw Dada – “Lack Of Income Is Not Lack of Worth” Children Starving in Montreal (2016)
Heejin Jang – “An Odd Cult” Trouble In The Camp (2017)
Aube – “Elementary Particle” Purification To Numbness (1994)
Godflesh – “Time, Death And Wastefulness” Love and Hate in Dub (1997)
GNOD – “Voice from Nowhere” Chapel Perilous (2018)

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April 28, 2018: a new episode of The Anatomy Lesson at 11pm EST on CFRC 101.9fm. Music by 18andCounting & The Only Ensemble, Cabaret du ciel, Therapy Font, DOOMSQUAD & NAILBITER, 700 Bliss (Moor Mother + Dj Haram), Lolina, Knifedoutofexistence + more. Check out the setlist below, tune in at 101.9 on your FM dial, stream at http://audio.cfrc.ca:8000/listen.pls or listen to the archive at cfrc.ca or on mixcloud here: https://www.mixcloud.com/cameronwillis1232/the-anatomy-lesson-april-28-2018/

Women of the Pore – “Dissemination” Upanishads (2018)
Videoblu – “Entering the Skin” Repeating (2017)
700 Bliss – “Cosmic Slop” Spa 700 (2018)
Cabaret du Ciel – “Staircase To Nowhere” Skies in the Mirror (1992)
Knifedoutofexistence – “Ouroboros” Reclaiming Stolen Time (2018)
Gorgeous Children – “Frozen Affairs” Gorgeous Children (2012)
Dino J. A. Deane – “The Burial Tree” For Leena (1991-‘98/2018)

Lolina – “Style And Punishment” The Smoke (2018)
Doomsquad & Nailbiter – “Cleaning Pleasure” Views from the 666 (2018)
Terror Against Terror – “Psychological Warfare” Psychological Warfare Technology Systems (1992)
Final Cop – “Culture of Conquest” Thin The Blue Line (2017)
Therapy Font – “Narcissistic Wound” A Shell for Vagrant Content (2018)
Isolrubin BK – “The Dynamics Involved In An Injury…” Crash Injury Trauma (1993)
18andCounting & The Only Ensemble – “Ruin The Ritual” Animal Skins (2018)
Horoscope – “Nature will grow even after you have lost everything” Nature will grow even after you have lost everything (2017)

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February 24, 2018: a new episode of The Anatomy Lesson at 11pm EST on CFRC 101.9 FM. Music by Vito Lucente, Gmackrr, Dedekind Cut, Moss Harvest, Carla dal Forno, Profligate + more. Check out the setlist below, tune in at 101.9 on your FM dial, stream at http://audio.cfrc.ca:8000/listen.pls or listen to the archive at cfrc.ca or on mixcloud here: https://www.mixcloud.com/cameronwillis1232/the-anatomy-lesson-february-24-2018/

Introductory material from a talk by Ashlee Cunsolo Willox: https://www.youtube.com/watch?v=eN9z-E9u9Vg

Mille – “Thawn” New Moon Sunken Wood (2015)
Gmackrr – “The Secret Need For A Listener” La Dépendance Électrique (2017)
Jeune Galois – “Nothing To Speak Of” Old Friend and New Lover (2017)
Profligate – “Somewhere Else” Somewhere Else (2018)
Carla Dal Forno – “We Shouldn’t Have To Wait” The Garden (2017)
Panxing – “On Becoming” I Could Go Anywhere But Again I Go With You (2018)
Dedekind Cut – “Hollow Earth” Tahoe (2018)
Dust Belt – “No Growth Without Waste” Ecocannibalism (2017)
Self Loath – “Things Fall Out Of My Life” Self Loath (2014)

Moss Harvest – “Asphalt Holds the Warmth of Morning Light” Shelter (2018)
Vito Lucente – “Falling From Grace” Falling From Grace (2017)

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“Fernow’s fascination with techno is nothing new. Though he grew up as a metal head of sorts, he cites Richie Hawtin’s FUSE album Dimension Intrusion as his all-time favourite, and he was a rave kid back in Wisconsin. He started to collect DJ mixtapes—his only exposure to recorded dance music at the time—and it was the makeshift nature of the Midwest rave scene that would come to influence the way he operated as a noise artist.

“This tape by DJ Anonymous was so profound to me because it had two cassettes taped together, back-to-back,” he explained. “One side had an S&M picture of a man tied up, and the other side had a picture of a woman. One was jungle and one was gabber. And coming from the death metal world, there was a connection between this idea of making demos [on tape]. And it really made an impression about what could be done if you don’t have the means—just do it. If you can’t find a case to hold two tapes, just tape two cases together.”

Death metal was also a key part of his connection to electronic music. In the ‘90s, many death metal bands started to work electronic passages into their albums, as eerie intros or interludes, which caught Fernow’s ear.

“It was such a departure from the ‘band world,’” he said, “Where everybody does everything—they all play their own instruments. There’s a kind of a literalism that comes with rock music. Techno was the most mysterious thing to me, coming from death metal. I didn’t know anything about the machines, about the gear—I still don’t. Even the idea of playing records that someone else made, records that were designed to be mixed with other records—it was such a departure.”

“I decided that there must be something more extreme than death metal,” he continued. “We’d heard about industrial music, but the only thing you could really find at the time was dance industrial, like Swamp Terrorists. So there was this program called Scream Tracker 3, just a dot matrix program where you get sample banks and really rudimentary effects. We couldn’t find anything that we thought industrial should sound like, so we were gonna try to make it. It was me and my buddy. His stuff became techno and mine became noise, but it started out as this slow kind of techno. The very first music I made was on that program. CD-Rs weren’t domestic yet, so we were always trying to dub the tracks onto a tape deck, but it never sounded good. We eventually had the tracks transferred from a desktop computer to a CD-R machine, and it cost like $100 a disc.”

After progressing into noise music, Fernow moved from Madison to New York and started to amass releases on Hospital Productions. He opened a storefront for the label, which became a gathering point for seedier parts of New York City’s underground electronics scene.

Fernow began putting put out hundreds of records and established a confrontational and sometimes frightening live persona armed with nothing more than a microphone. A videoof one performance, at an in-store in Lowell, Massachusetts in 2001, stands out. Fernow writhes in front of a rudimentary stack of speakers, screeching into a microphone with his back to the audience. Another video shows a shirtless Fernow in New Paltz, New York doing a more spirited version of the same performance, wringing out unholy feedback from the speakers before violently plunging his microphone into one as if he were trying to destroy it.

It was only after years of Prurient and countless other harsh noise aliases that Fernow reconnected with the dance music that excited him so much as a teenager.

“Jim Siegel, the shop manager at the time, was bringing Sandwell District stuff in, and I was like, ‘What the fuck is this? This is so good!’ I didn’t realize it was Karl [O’Connor, AKA Regis]. I knew British Murder Boys, but I didn’t know Regis’s solo stuff. Just seeing the records, the aesthetic, and the titles most importantly. This is what I’d been missing all that time. I cannot emphasize the importance of what all those guys did. That was the doorway back in for me.”

Fernow had already started to experiment with more straightforward electronic music on Bermuda Drain, released through the avant-garde metal label Hydra Head in 2011. The album had some of the clearest and most straightforward Prurient music yet, featuring discernible lyrics, melodies and plush synths—albeit delivered in angry screams with harsh distortion. It marked a sea change from shows like that in-store performance in Lowell. Around the same time, Fernow started a new project, Vatican Shadow, with a tape of lo-fi beats called Kneel Before Religious Icons, which was first released on Hospital Productions and later reissued by Type.

Kneel Before Religious Icons featured a stark, smiling portrait of Nidal Hasan, better known as the Fort Hood Shooter, a US military psychiatrist who shot up an army base in Texas in 2009. The titles were borrowed from newspapers and headlines, adding a menacing political tinge to Fernow’s music. The tracks sounded like acid-eaten techno and industrial, with harsh, repetitive beats puncturing the spooky atmospheres Fernow had been exploring in his recent music.

Vatican Shadow wasn’t necessarily meant to be anything more than a one-off experiment. Fernow had the idea for the project while reading a newspaper article about the Fort Hood shooting, and a squatter who was living in the basement of his shop aggressively quizzed Fernow about the facts around the story.

“Pointing to the shooter, he proceeded to tell me that it was CIA, they were trying to make Obama look bad because he had planned to stimulate the economy and get out of the recession by legalizing marijuana,” Fernow said. “It kept going in that direction and I started thinking about these beliefs and how so much conspiracy stuff is about an inability to believe, a need to try and feel empowered by having ‘the real story.’”

Fernow saw the early Vatican Shadow material as being more influenced by industrial music than techno. Its style came through an attempt to turn the lengthy compositions of Bermuda Drain into something more concise. He never thought about DJing or mixing records—he said he was listening to artists like Traversable Wormhole and Function “as music,” at home, not for DJing purposes. He admits that most of the stuff he made early on sounded “like shit” on a big system. This was techno as creative exercise, not built for clubs.

Vatican Shadow became a serious endeavour following an interview with Blackest Ever Black founder Kiran Sande, when Sande was still an editor at FACT Magazine. After the interview, Sande asked Fernow about Vatican Shadow, and if he could release anything on his new label. Fernow was a fan of Raime and Regis, who appeared on Blackest Ever Black’s first releases, and he jumped at the idea. He was booked to play his first-ever Vatican Shadow show alongside British Murder Boys for a Blackest Ever Black showcase in London. But he never got on the plane, succumbing to an old fear of flying that ties into his deeper struggles with anxiety and OCD.

“It took me a long time to realize that it’s not necessarily about the result, but it’s about the process,” he said. “And I think that part of the deeper connection that I had to techno worked the same way—it was experiential, forcing you to be in the moment. There’s kind of an irony to it in that. This unhealthy way of living, traveling and never sleeping and all this obvious stuff that every DJ is faced with. But when you actually get to the club, with all the elements in place you can transcend the root of the problem. I think that one of the big issues we’re all facing is roots. There’s this cliche—’what’s the root of the problem?’—but real roots, like the roots of a tree, there’s not just one. There’s many.”

Techno culture forced Fernow to deal with his problems head on. His new obsession took him through a turbulent period that started with closing the Hospital shop. He moved to Los Angeles, a city he ended up hating for its remoteness. LA was the opposite of everything he had liked about Manhattan, where he could travel on foot and bump into people and have forced interactions, a necessary evil for an otherwise natural loner. (Fernow never liked Brooklyn. It made him feel claustrophobic when the steep hills would block out the horizon in the distance.)”

– Andrew Pryce, “Dominick Fernow: Myth of building bridges.” Resident Advisor, January 11, 2018.

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November 4, 2017: a new episode of The Anatomy Lesson at 11pm EST on CFRC 101.9fm. Post-spooky sounds. Music from Matriarchy Hands, You and Me (Áine O’Dwyer), Dead Tech, Throbbing Gristle, Dog As Master, Asod Dvi and the @maleactivity and @pseudolaboratories​ labels. Check out the setlist below or at anatomy-lesson.tumblr.com, tune in at 101.9 on your FM dial, stream at http://audio.cfrc.ca:8000/listen.pls or listen to the finished show after airing at cfrc.ca or on mixcloud here: https://www.mixcloud.com/cameronwillis1232/the-anatomy-lesson-november-4-2017/

Piper Curtis – “Beginning November Indoors” Sounds For Staying Indoors (2017)
Cephalic Index – “Dead Loss” Cephalic Index (1986)
Evoker – “Libris Mortis” Evoker (2017)
You and Me – “Ghostyard” Beast Diaries (2017)
Dead Tech – “I’m An Angel!” Untitled (1984)
Dog As Master – “The Splendor” The Splendor (1987)
Patience Worth – “Hundred in a Day” You’re Only Awake (1989)
Throbbing Gristle – “Weapon Training” Live From Death Factory (1979-1982)
Asod Dvi – “(A New Generation Ov Freedom Fighters Following Jim Jones’ Example Ov Living In) Harmony And Peace” Katacombe Vol. 7 (1988)
Matriarchy Roots – “Revenge First” Weapon Hand (2017)
Radical Creation – “Punishment Squads” Outlaw Republican Morality (2016)
Chénier Cell – “Peactime in Canada” October Crisis (2017)
Bruno Cassano – “Debacle (overture)” Debacle (1983)
B.P. & Marion – “Nothing Seems to Define You” Position (2017)

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October 28, 2017: a new episode of The Anatomy Lesson at 11pm EST on CFRC 101.9 FM. Music by Kluentah, Sonja Tofik, Greater Than One, Pan Daijing, Torangerine, Rabit & Chino Amobi, …Of Tanz Victims, Lapalux, Test Dept, + more. Check out the setlist below or at anatomy-lesson.tumblr.com, tune in at 101.9 on your FM dial, stream at http://audio.cfrc.ca:8000/listen.pls or listen to the finished show after airing at cfrc.ca or on mixcloud here: https://www.mixcloud.com/cameronwillis1232/the-anatomy-lesson-october-28-2017/

Fragrance – “Untitled” Deep Float (2017)
Sonja Tofik – “Creep Sleep” Neuros (2017)
Angels in America – “Troy Bellamy” Allergic to Latex (2010)
Dau Al Set – “Strange Pain” Peyrere compilation (1986)
Torangerine – “Intimate” Melancholia (2017)
Lapalux – “Holding On” The End of Industry (2017)
Rabit & Chino Amobi – “Cruel Angels Thesis / Chariots of Fire” The Great Game: Freedom From Mental Poisoning (2015)

Test Dept. – “The Faces of Freedom 1” The Faces Of Freedom 1 2 & 3 (1986)
Of Tanz Victims – “Yog Sototh” Metal Vampires (1985)
Pan Daijing – “Lucid Morto” Lack (2017)
Greater Than One – “Black Magic” G-Force (1989)
Kluentah – “Give Up The Gods” All Watched Over By Machines Of Loving Grace (2017)

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September 9, 2017: a new episode of The Anatomy Lesson at 11pm EST on CFRC 101.9 FM. “All their power is to darken…” Music by Edna King, Desolatum, Art Of Burning Water, Esruk, ZOV ZOV, Kaiser Nietzche, Porest, New Carrollton, africanghostvalley+ more. Check out the setlist below, tune in at 101.9 on your FM dial, stream at http://audio.cfrc.ca:8000/listen.pls or listen to the finished show after airing at cfrc.ca or on mixcloud here: https://www.mixcloud.com/cameronwillis1232/the-anatomy-lesson-september-9-2017/

Edna King – “Memo Me” Pressurize (2016)
Esruk – “Side A (extract)” Eastern Promise (1988)
Hajj – “Apoca’s Drums” Simple Music Experience Vol. 2 (2016)
African Ghost Valley – “Radda” Ohio Ballrooms (2016)
Manon Lescaut – “The March” Gift of Stones (2015)
Kaiser Nietzsche – “Triage” Heterology (1989)
Porest – “The Field Recording” Modern Journal of Popular Savagery (2016)

Altar of Flies – “Ancestor Conversations” iDEALISM Volume One (2015)
New Carrollton – “Hissing Black Lumps” That Was Really Great (198?, 2004)
Zov Zov – “Your Body Is A Parasite” The Sacred Pornography of God (2016)
Crazy Doberman – “Hell is Within Us, Part 2” Hell is Within us (2017)
Art of Burning Water – “A Gift From Me Means Goodbye” All Obedient Beasts Worship (2017)
Desolatum – “Face Down, Lungs Filled” Desolatum // Eudaimonia (2017)
Whistleblower – “Peace Enforcement” Upsetting Geopolitical Agenda (2017)
Painted Woman – “Hung” 07.26.14 (2014)

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