Category Archives: feature
Only just managed to get it all out there on halloween though, nearly didn’t make it through one thing or another…
In case you’re not aware, each year we challenge artists to create a cover song that is of a band not their usual style. The results are always unpredictable and always delightful.
Huge thanks to all the artists involved here, donating their time and effort for no reward other than the artistic.
In alphabetical order:
Brutalist Architecture in the Sun
Damsel in the Dollhouse
The Golden Age Of Nothing
Images @ Random (Simon Appleby)
Izzie Voodoo and the People
Jan Doyle Band
MA74 (MA 74 soundcloud)
Nature of Wires
Pas de la Dame Sauvage
This Human Condition
Featuring the likes of Christian Death, Emilie Autumn, Rasputina, Rob Zombie, Marilyn Manson, London After Midnight and so much much more…
As I’m putting on a coupple of gigs to celebrate Siouxsie’s 60th birthday this year, I feel like writing about how I drifted into worship of this mighty being. Hopefully I can get over to you the reasons why she has been such an inspiration, though I was somewhat late to the party.
So let’s go back to 1990 for where the story really begins…
They did this for Pitchfork
And this for Buzzfeed
They did the first NOW AGE opera.
Nimai’s drumming. SO much Nimai’s drumming.
They are just an incredible live act
It’s long been the case that Tokyo Witch Hunt have been one of our favourite artists. There’s just something incredible and masterful about the way maestro Izzie Kirk puts together a song that really gets into our bone marrow. Songs that are frequently as danceable as they are deep, as singalong as they are soulful. She’s also got great style in the live performance too as you’ll see here when Tokyo Witch Hunt headlined the K Box Stage at the Live in Barnsley Festival.
On this special occasion Ash, her usual bass player, was unable to make it so Faye of Berlyn Trilogy kindly stepped in on bass guitar duties to great effect.
Here she is joined by Faye of Berlyn Trilogy
Aside from the obvious answer of it being absolutely brilliant, there is far more to be said about this magnificent work.
With it being an ‘extra track’ on the Stark White EP (Please note, Vile Electrodes that an EP needs at least 4 tracks) it was perhaps not an obvious choice. It is not your ‘in your face’ dance infused single, it’s a subtle ballad of astonishing beauty. It is in this area that Vile Electrodes display a unique and astonishing level of mastery.
Dead Feed from Captive in Symmetry EP (again not the lead track and in fact yet again track 3) was a stunning ballad of unusual and exciting analogue synthesiser experimentalism. Offering us a subtle experience of atmosphere and elegance. A theme shared with the most effective tracks from The Future Through a Lens for us were those slower more atmospheric tracks, such as A Distance and After The Flood.
But back to Half Life. Thus far this is the most incredible example of how Vile Electrodes can take things down to a bare minimum and show us the incredible power and beauty of stillness. As opposed to being in constant motion like a pulsar timing array (ahem) this track captures the space between the seconds. A moment to inspect the structure of a snowflake as it falls. It goes far beyond the simple realms of just being a very nice track to dance about to or to have on in the background. It was a track of such emotion and feeling that we were moved to tears on hearing it. This commands listening and total attention.
This is artistry and a clear example of what marks Vile Electrodes apart from everyone else in the synth scene.
With Mad Max Fury Road riding high in the cinemas it seemed there was no better time than to provide you with a selection of our favourite electronics infused music videos set in those lovely post apocalyptic type environs. So obviously it’ll all be studded leather and industrial bands right? Well, let’s see shall we?
Before I continue, you must agree that the title got you intrigued, right? Hypernoise 30xx mode! Read on, and all will be revealed.
During a recent conversation with a certain Mr Williams, it was suggested to me that I write on here about my synthesizers. What I didn’t want to do was write yet another synth review on each that I own, as the t’interweb is awash with such articles. So I wanted to either reminisce about buying synths, or talk about their aesthetics, or how they sit in my setup; give a user’s perspective rather than just a rundown of their specs.
I’m quite sure DAW (Derek) wasn’t expecting this post. I think he was rather hoping to read about some 30 year old analog monster, but I’m going to rant about a recent addition to my family instead (I’ll save the analog monsters for another time)
Designed at Bleep Labs in Austin, Texas early 2010, the Nebulophone has been described as a “Stylophone on crack.” Indeed, a stylus is used to play, but sound-wise, it leaves the Stylophone dead in the water. It’s an Arduino (Even I don’t know that one. I presume it’s this – Ed) based synth that is the size of a credit card, yet it sounds massive. It comes in kit form and costs around £50.
For something so cheap, and so small, its features are impressive; 8 waveforms, 6 arpeggio modes, adjustable portamento, adjustable decay (How long a sound takes to return to its initial level – Synth Explaining Ed), a light-controlled analog low-pass filter (LPF) (used to cut higher frequencies from sounds. It’s how you get those weeeownnng sounds; reducing it to zero – Synth Explaining Ed). with 5 adjustable LFO (Low Frequency Oscillator – used primarily for making cyclic modifications on things, like say vibrato or making the brightness of a sound vary up and down over time – Synth explaining Ed) modes, perfect tuning over 6 octaves, and keyboard mapping (To make it play notes when you press them on a keyboard – Synth Explaining Ed). What’s more, you’re able to program sequences of up to 32 steps, control the arpeggios, sequence and LFO via infra-red (from similar devices) and it’s also possible to sync with the Korg Monotribe and the Korg Volcas (which are recent ‘pocket’ sized synthesisers – Synth Explaining Ed). Oh, and then of course there is hypernoise 30xx mode, which adds distortion and bit-crushing effects.
Admittedly, its not the easiest of ‘keyboards’ to play, being so small and played with a stylus, but this does not make it any less usable. I’ve had mine a couple of months now, and have had it synced to the Volcas, with some very impressive and usable results. I’ve also had it fed in to the MoPho and had the Neb’s light controlled LPF modulated with the Curtis filter (A type of Analogue Synth Filter Chip made by Curtis Electronics that became abundant in the early 80s. Found in such as the SH-101 among many many more. More info here if here if you’re interested – Synth Explaining Ed). Again, some very interesting results.
The Nebulophone may not be to everyone’s taste; you’re not going to get warm pads, or dual oscillator fatness (unless you sync with another), but for the money it’s a very welcome addition, certainly to my studio. At a time when I’m composing for my “Analog Punk” album, this beast has certainly paid for its keep; it looks the part and sounds fantastic. Think Atari Punk Console with far more scope. Search “Nebulophone” at YouTube and soundcloud> for more examples (or by clicking the links I’ve now added – Ed).
Where’s your soldering iron?