Dark wave – Page 4 – 7th Level Music

Blackwater Holylight’s Sunny Faris and Night Heron’s Cam Spies combine their super powers to create WHIMZ.

Portland, OR synth-doom duo WHIMZ share the first single from their forthcoming album PM226 today via Metal Injection. Hear and share “AM2” HERE. (Direct Bandcamp.)

Sunny Faris (vocalist/bassist and founder of Blackwater Holylight) and Cam Spies (Night Heron) have been friends for years. Cam recorded the first BWHL record several years ago and they hadn’t had a chance to collaborate again, until 2021 when they decided to spend a day in the studio to see what emerged. The result was a seamless blending of their two projects: dark, synth heavy, austere doom-pop, with hauntingly beautiful vocal harmonies, and sexy bass lines.

Sunny’s characteristic voice is immediately recognizable from opening track “AM1”. Although it may at first seem confusing to hear her singing over low-end rich, heavy synthesizer and vintage drum machines, it quickly becomes apparent how perfectly suited her voice is for these songs. While the music evokes the icy, consumer excess bliss of mid- to late-80s synth pop, Sunny’s melancholic voice permeates like the angelic harmonies of Julie Cruise and Cocteau Twins.

The emotionally intense, melodically lush shoegazey doom of Blackwater Holylight’s widely hailed 2021 album Silence/Motion provides a good touchstone for WHIMZ, but Night Heron’s pawn shop deep collection of carefully curated retro synth instrumentation and Cam’s tasteful production also gives the album both its skeleton and a wealth of subtle and clever tones tucked neatly into each song.

Upon completing the 5-song, 26-minute album they decided to release it on Portland label Literal Gold Records, and assembled a live band which includes members of YOB and Spoon Benders joining Faris and Spies.

PM226 will be available on LP, CD and download on October 28th, 2022 via Literal Gold Records. Pre-orders are available HERE.

WHIMZ LIVE 2022:

Nov 10 – Portland – Doug Fir Lounge

Nov 12 – Seattle – Freakout Fest – Sunset Tavern

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[Thanks to Dave at US / THEM Group.]

babychaos signs to Cleopatra Records and releases new single – “Babylon.”

babychaos is the creation of 21-year-old model Lyzzie Larosa. Using influence from industrial, metal, rock, pop and club music, she hypnotizes with her words on her personal experiences and the world she creates through her music and expression. Born and raised in witch city Salem, Massachusetts, babychaos has now arrived.

Los Angeles-based independent record label Cleopatra and babychaos have now joined forces to present the creation and video for “Babylon”.

babychaos is learning to dance her way through the dark model and musician babychaos has released her fifth single ‘Babylon’, and the video has just arrived to the party.

Watch “Babylon” here: https://www.youtube.com/watch?v=nzIUnWTXxZE

“Post-apocalyptic Bratz doll from hell,” babychaos has carved out a unique space in music, which she dubs ‘industrial pop. ‘Combining the harsh electronic tones and distorted guitar of industrial metal with a vocal and songwriting sensibility that aims for big pop hooks, babychaos’s newest single ‘Babylon’ is her most accomplished musical statement to date. Check it out we are very excited to her what y’all think! She’s definitely an icon.” – Ken Tighe, Cleopatra Records

“‘Babylon’ is about the inevitable vilification of people living their authentic truth. I’ve found that no matter what, people will project their inner wounds and fears into others no matter how morally good you may think you are. My mom told me growing up that people are going to talk no matter what, so you may as well give them something to talk about. This is exactly what that song is about as it’s been such a prominent theme in my life. Learning to dance in your darkness, even at your loneliest is something that no one can take from you.” – babychaos

When it comes to 21-year-old babychaos, the alternative model turned solo musician is anything but predictable. With a multi-range of influences that extend from industrial, rock, classical, and club music genres to nostalgic 90s and 2000s rock/metal soundscapes, babychaos delivers an intense, heavy, electronic, eclectic experience that is refreshing to the music scene. babychaos is no stranger to being confident in her skin. Her journey of breaking away from spiritual ties and turning that religious repression into art is one of many undisguised lyrical subjects the multi-genre artist touches on within her music. While babychaos is just getting started in the music industry, she hopes to use her stories to connect with others. With the Salem/Florida-based artist’s first 2021 single, “Flesh”, approaching over 1 million streams and currently working on her first EP with Cleopatra Records, the future looksbright for the up-and-coming artist.

“I’ve built a community of my listeners who are simply visionaries, and I love how they

use my music and art in general to fuel their own visions and creative endeavors.” – babychaos

“Babylon” was produced by: Goodjohn Productions and mixed/mastered at Wolfe Studios. The “Babylon” video was shot by 4102 productions.

babychaos online:

Instagram: www.instagram.com/itsbabychaos

Twitter: babychaos (@itsbabychaos) / Twitter

TikTok: https://vm.tiktok.com/TTPdjxBo6L/

YouTube channel: https://youtube.com/c/BABYCHAOSOFFICIAL333

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[Thanks to Maria at Adrenaline PR.]

Auragraph takes out of the ordinary with his new single, “Escapism.”

The palette and precision of prolific synthesizer composer Hector Carlos Ramirez aka A uragraph has heightened incrementally since the project’s conception in 2018, but Reflection Plane – his 8th full-length, and first for Dais Records – finds him streamlining his sound even further, to its gleaming chrome essence.

Moody pads and sequential circuits cycle through cybernetic galleries of marble, ferns, and flickering screens, at the threshold of film score, slow techno, and hard vapor. The album’s nine tracks deploy an array of 80’s tonalities, from night drive arpeggios to Art Of Noise sample stabs to Seinfeld slap bass, but fused into a hybrid landscape of lucid dreaming and hypnotic horizon lines.

Today, Auragraph shares the first look at Reflection Plane with its sleek, glossy first single, “Escapism.”

Watch (+ share) the virtual reality video for “Escapism.”

Born in the Texas border town of Laredo, Ramirez relocated to Austin for film school, where he became fascinated by the local electronic underground scene spearheaded by S U R V I V E and the Holodeck Records network. But it was only after moving to Los Angeles to work in the music department of a film trailer house that he crossed paths with Kyle Dixon and Michael Stein of S U R V I V E, who were in need of an assistant for multiple ongoing projects. After helping out on National Geographic’s Valley Of The Boom miniseries, Ramirez officially joined the Stranger Things soundtrack team as a Score Mixing Engineer.

This intuitive expertise for audio design infuses Auragraph with a unique sense of fluidity and finesse, able to shift gears and integrate contrasts: sleek yet strange, icy but emotive, minimal though rich. Shades of classic EBM, 90’s electronica, and Dreamcast-era video game music glimmer here and there on certain tracks, but the cumulative effect of Reflection Plane is of entering a place outside of time and space, post- human and pristine. These are songs of parallel realities and second lives, freed from friction and gravity, playing on loop in a skybox sculpture garden at the ends of the earth.

Reflection Plane is available on digital formats now from Dais Records. Order here.

Auragraph, live:

August 14 – Medium Studio – Salt Lake City, UT

August 17 – Pop’s Blue Moon – St Louis, MO

August 18 – Cole’s Bar – Chicago, IL

August 27 – Al’s – Lexington, KY

August 28 – Pandora’s Box – Nashville, TN

August 29 – Rubber Gloves Studios – Dallas, TX

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[Thanks to Stephanie at Indie Publicity.]

Saajtak announces debut album with first single – “Big Exit.”

Saajtak (pronounced: sahje-talk)—based in Detroit (Jonathan Barahal Taylor, Ben Willis, Simon Alexander-Adams) and Brooklyn (Alex Koi)—today announced their debut album, For the Makers, out June 3, 2022 via American Dreams.

On anthemic lead track “Big Exit,” Koi treats her words like playthings, stretching syllables past semantics, vocal lines in conversation with one another. Alexander-Adams’ electronics quiver, and Taylor’s clattering kit seems to deconstruct the rhythm it builds, before the song unspools into a lush, minimal coda just before the 4-minute mark. Watch the video for “Big Exit” here.

Saajtak makes futuristic music that synthesizes a wide range of genres—often in ways that seem to clash against each other, always in service to the song. The band has quietly made music in Detroit for the better part of a decade, collaborating with members of clipping. and sharing bills with Xiu Xiu, Ava Mendoza and Greg Fox. Koi sings and writes lyrics; Taylor plays drums, Willis bass; Alexander-Adams contributes keyboard and electronics. But to individuate their contributions does the music a disservice. Saajtak sounds, feels, like a living, breathing organism, for which recordings don’t present definitive documents as much as they reflect songs at given points in their lives. For the Makers, the band’s first album, brims with ideas, treating their shape-shifting compositions with a high depth of field.

Saajtak’s compositions are rooted in collective improvisation; their first release, spectral [ drips ], collects several free improvisations. The band was recording music live for a full-length debut when the onset of the COVID-19 pandemic pressed pause on their principal way of making music. In response, the band began working on new music remotely, in increments of eight days. Every two days, members would trade songs, gradually sculpting them into final iterations. Willis recalls putting on his headphones as he began recording bass: “The layers that Alex, Simon, and Jon had begun to craft engulfed me like a wave, filling me. I was suddenly surrounded by my friends.” Over time, the music organically cohered into an album, bringing together influences as wide-ranging as Richard Davis, Meredith Monk and Melvins. Koi’s lyrics balance narrative and enigma, incorporating several perspectives within a song in an approach she calls polyphonic narrative. “I like to imagine how personas might converse in worlds with varying levels of familiarity and skewness,” she explains. “What we receive are relationships that flow between splintery and harmonious, and that contain both ecstasy and affliction. There’s a big thrill in all this, when nothing can be apathetic.”

Throughout, the album mixes the organic and synthetic. Even as motifs, images and lyrics recur, the music thrums with energy, opening into new worlds. This, perhaps, is part of the point: to illustrate an escape, to be one. To Alexander-Adams, For the Makers was “as much a healing practice as it was a means to create”; to Willis, it “feels like a year-improvisation, for which the music never stopped the whole time.” Says Taylor, “it represents our collective voice in the deepest sense: an amalgamation of our individual vulnerabilities, imaginations, ambitions, and love for each other.” The album is testament to the restless creativity powering Saajtak’s engine, and the importance of cultivating creativity, trust and community.

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[Thanks to Cody at Clandestine PR.]

Review: Blanck Mass – Ted K (original film score)

The irony that Blanck Mass has created the film score for Ted K, a film about Ted “The Unabomber” Kaczynski – the man responsible for multiple bombings done as a form of protest against modern technology – isn’t lost on Benjamin John Power (AKA Blanck Mass) or the film’s director, Tony Stone. Blanck Mass is known for creating bold, wild electro soundscapes that mix industrial sounds with ambient noise (or is it industrial noise with ambient sounds?) and being able to play an entire set with a laptop, a sequencer, a DAW, and a couple thumb drives. There are no wood winds on this score. There are no natural strings, drums made of scrap metal, or acoustic guitars. It’s all electronic.

It’s also all good. The main theme (“Montana”) is menacing. “Noise Destroys Something Wonderful” is surprisingly soft, while “Pesticides” creeps around you like a deadly fog. The first half of “ComTech” sounds like a kaiju approaching an oil refinery on the west coast of Japan, and the second sounds like the rolling smoke seen in its aftermath. “Greyhound” has a fuzzy edge to it that unnerves you just a bit. “Tell Me Your Heart” is a slow-dance song for tired robots.

“Dark Materials” is the soundtrack to a robot cat’s dream. “Becky’s Theme” is a song for a Montana woman who worked at a general store near the remote area where Kacyznski lived and befriended him somewhat. “Manifesto” starts out like an old single-propeller plane warming up and then becomes the sound of rising tension and smoldering rage. “Ranger Gary” is peaceful enough to enjoy while meditating next to a mountain stream, while and “At Peace / Freedom Club” starts that way but drifts into dread. By the time we get to “Skidders,” we’re into full-blown madness.

It’s another fine piece of work from Blanck Mass. I need to check out this film, which has garnered many good reviews – as should its score.

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[Thanks to Patrick at Pitch Perfect PR.]

Review: P.E. – The Leather Lemon

Combining the talents of members of Pill and Eaters, NYC’s P.E. easily weave in and out of psychedelia, post-punk, no wave, bedroom rock, and dream pop on their second album, The Leather Lemon.

Benjamin Jaffe‘s opening saxophone on “Blue Nude (Reclined)” automatically takes you into a cool headspace while Veronica Torres sings sexy lyrics. “Contradiction of Wants” is a perfect song for 2022. It’s about not knowing what you want, even though you already have everything you need. The bass line on it is wicked. I can’t tell you who plays it, because all the band members (Jonny Campolo, Jaffe, Bob Jones, Jonathan Schenke, Torres) are multi-instrumentalists and often switch axes from track to track. “Lying with the Wolf” goes into low rock and mixes it with synthwave and old school techno beats.

The title track is a short, proto-industrial puzzler. “Tears in the Rain” does invoke some Blade Runner imagery and has guest vocals from Parquet Courts‘ Adam Savage as he teams with Torres to give us a song of romantic hope in times that can be gray and bleak. “The Reason for My Love” is a hot dance track with yet another great bass line (The album is full of them.).

“Magic Hands” has plucked string instruments dancing around slightly loopy synths and drunken android vocals. The darkwave sound of “New Kind of Zen” is powerful and haunting. You’re never sure where the track is going to lead, especially when it floats into spoken word psychedelia. The instrumental “86ed” drifts into “Majesty,” which returns some of the musical themes from other tracks as Torres sings, “I don’t want that life. I don’t want that majesty.” and her bandmates reply, “I want everything.” It’s a neat loop to be in for a couple minutes.

The whole album is worth a visit. It sizzles, saunters, and seduces.

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[Thanks to Tom at Hive Mind PR.]

Review: Emily Jane White – Alluvion

Emily Jane White‘s new album, Alluvion, might win the award for the Most Accurate Cover Image of the Year. Ms. White stands on a stark beach surrounded by towering rocks and watched over by a blue sky that you can only see at certain moments during dusk. She appears to be holding, or perhaps projecting, a single light in the gothic landscape. Her black dress melds into the water and mud below her feet and reflects her image below her, as if she arose from this salty, sandy, chilled landscape like a ghost searching for a lover whose ship crashed on the pictured shore.

And the whole album sounds like this image – haunting synths, cold-wave beats, and White’s alluring, hypnotic vocals.

On “Show Me the War,” White sings about “life’s blood raining down on me” while she craves for explanations and reasons behind the chaos she sees in the world every day. “Crepuscule” is a song about loss and embracing the grief when it hits so hard (“This mourning lives in everyone who has lost someone. Aurora in lightning, the living and the dying.”). The sparse guitar notes in it are perfect. “Heresy” is full of stark piano and White’s vocals sliding around you like a cold wind that signals an approaching storm.

“Poisoned” takes on a goth-western feel with echoed guitars and countrified beats while White sings about a friend carrying grief that she recognizes as they walked through “harm drenched fields.” “Body Against the Gun” is about a friend having to flee to another state for a medical procedure and White remembering her upbringing “in light so dim with those who sang assailing hymns.”

White calls out to a higher power on “The Hands Above Me,” a lovely gothic track of longing for peace and understanding (“Gonna write a note to the hands above me. Gonna ask them on which side do they air.”). “Mute Swan” is a song about carrying the wounds of a relationship gone, probably caused by a death (judging from White’s lyrics about how even uttering her lover’s name causes her pain).

“Hold Them Alive,” while sounding bleak, is actually uplifting if you examine the lyrics. White sings about carrying loss, and the physical and mental wounds of it, with grace through life and remembering the love that was there: “The flora and fauna, incantations surround you. It lives in a stark liminal space within you.” The love is there, disguised as grief. “Hollow Earth” has the peppiest beats on the album, but it doesn’t lose any of the heavy themes of loss and longing.

“I Spent the Years Frozen” is a powerful track about desire and how it can so intensely burn that it might consume you. The quick fade-out is like someone blowing out a candle flame. “Battle Call” ends the album with lyrics of hope, of being able to rise up from the mud and heal from scars on our bodies and our souls.

Ms. White isn’t screwing around. She’s here to entrance us and be a guiding light out of a murky darkness (See the album cover?). She’s been there. She’s found the tricky, sometimes treacherous path out of the swamp, and Alluvion is a map to dry land and brighter skies.

Keep your mind open.

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[Thanks to Monica at Speakeasy PR.]

Kelly Lee Owens announces new album, “LP.8,” due April 29th.

Producer/musician Kelly Lee Owens announces a new album, LP.8, out April 29th (digital) and June 10th (physical) on Smalltown Supersound, and today presents two of its tracks, “Sonic 8” and “Olga.” Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious.

After releasing her acclaimed sophomore album Inner Song in the early days of the pandemic, Owens was faced with the sudden realization that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo for a change of scenery and some undisturbed studio time. Arriving to snowglobe conditions and sub-zero temperatures with the borders closed once again, she began spending time in the studio with esteemed avant-noise Lasse Marhaug (known for his work with Merzbow, Sunn O))) and Jenny Hval).

Together, Owens and Marhaug envisioned making music somewhere in between Throbbing Gristle and Enya, artists who have had an enduring impact on Owens’ creative being. In doing so, they paired tough, industrial sounds with ethereal Celtic mysticism, creating music that ebbs and flows between tension and release. One month later, Owens called her label to tell them she had created something of an outlier, her “eighth album.” In Owens’ words, “For me, 8 meant completion – an album that will ripple infinitely with me personally.”

Watch “Sonic 8” Visualizer
Watch “Olga” Visualizer
Pre-Order LP.8

LP.8 Tracklist
1. Release
2. Voice
3. Anadlu
4. S.O (2)
5. Olga
6. Nana Piano
7. Quickening
8. One
9. Sonic 8

Kelly Lee Owens Tour Dates
Fri. June 3 – Melbourne, AU @ Rising Festival Hub
Sat. June 4 – Sydney, AU @ Motorik [DJ Set]
Wed. June 15 – Milan, IT @ Magnolia Fest
Sun. June 19 – Dublin, IE @ Body & Soul Festival
Sat. June 25 – Bristol, UK @ Bristol Sounds
Sat. July 2 – Roskilde, DK @ Roskilde Festival
Fri. July 8 – Bilbao, ES @ Bilbao BBK Live Fest
Sun. July 10 – Modena, IT @ Artivive Festival
Fri. July 22 – Macclesfield, UK @ Bluedot
Sat. July 23 – Hertfordshire, UK @ Standon Calling Festival
Sat. July 30 – London, UK @ South Facing
Sun. July 31 – Sicily, IT @ Ortigia Sound System Festival [DJ Set]
Sat. Aug. 20 – Hasselt, BE @ Pukkelpop
Sun. Aug. 21 – Biddinghuizen, NE @ Lowlands Festival

Keep your mind open.

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[Thanks to Jessica and Ahmad at Pitch Perfect PR.]

Live: Gary Numan and I Speak Machine – March 21, 2022 – Park West, Chicago, IL

This was my third time seeing Gary Numan live, and it was the smallest venue I’ve seen him in so far. It was good to see a crowd of people happy to be experiencing live music again, and even better to see Numan and his band having a good time on stage.

His opening act was the one-woman band I Speak Machine, who came out looking like a Black Widow assassin and throwing down a set of darkwave mixed with kabuki, opera, and industrial grind. One of the best parts of her set was watching the reactions of some in the audience who didn’t know what to make of her, and of her not giving a damn what people thought.

I Speak Machine belting out operatic vocals for a dumbfounded crowd.

Mr. Numan came out to an appreciative crowd and proceeded to belt out a loud, sometimes furious set that mixed classics with hot tracks from his last two albums, Savage and Intruder.

It was great to see him and his four-piece band having a good time. There were many moments when they were smiling or laughing. You could tell they were excited to be on tour. Numan’s guitarist, Steve Harris, was all over the stage, often mixing shredding solos with performance art antics. I’m fairly certain he broke a string or two just a few songs into the set from playing so hard.

It was a great set, with standouts like “The Promise,” “Films,” “Ghost Nation,” “Love Hurt Bleed,” “Bed of Thorns,” “My Name Is Ruin,” “A Prayer for the Unborn,” and “Are Friends ‘Electric’?” Catch him if you can. He’s having a blast right now, and so will you.

Thanks to the woman who let me snap this photo of the set list she scored.

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Joe Rainey announces debut album, due May 20th, with powerful first single – “no chants.”

Pow Wow singer Joe Rainey announces his debut album, Niineta, out May 20th on 37d03d (the label founded by Justin Vernon of Bon Iver, and Bryce and Aaron Dessner of the National), and shares the first single/video, “no chants.” On Niineta, Rainey demonstrates his command of the Pow Wow style, descending from Indigenous singing that’s been heard across the waters of what is now called Minnesota for centuries, and accompanied by cinematic, bass-heavy production from Minneapolis producer Andrew Broder. Depending on the song or the pattern, his voice can celebrate or console, welcome or intimidate, wake you up with a start or lull your babies to sleep. Each note conveys a clear message, no matter the inflection: We’re still here. We were here before you were, and we never left.

Rainey grew up a Red Lake Ojibwe in Minneapolis, a city with one of the largest and proudest Native American populations in the country. The Red Lake Reservation sits five hours to the North, a sovereign state unto itself, but Rainey grew up down in what Northerners call “The Cities,” in his mom’s house on historic Milwaukee Avenue on Minneapolis’ South Side. He was raised less than a mile away from Franklin Avenue, the post-Reorganization Act urban nexus of local Native American life, a community centered in the Little Earth housing projects and the Minneapolis American Indian Center. The neighborhood still serves as a home for both the housed and the un-housed, and the don’t-even-wanna-be-housed Native. It is the birthplace of the American Indian Movement (AIM), the pioneering grassroots civil rights organization founded to combat the colonizing forces of police brutality. Rainey came of age in the heart of this community, but always felt like he was living in a liminal space—not that he was uncomfortable with that. “Growing up, knowing that you weren’t from the Rez, but you were repping them, was kind of weird,” he says. “But I liked that.”

Rainey became interested in Pow Wow singing as a child—at the age of five, he started recording Pow Wow singing groups with his GE tape recorder, and his mom enrolled him in a dancing and singing practice with the Little Earth Juniors soon thereafter. As a pre-teen he began hanging out around The Boyz (a legendary Minneapolis drum group) at a house some of them stayed at in the Little Earth projects. By the time he was a teenager he had found enough courage to help start The Boyz Juniors, his first drum group, before going on to sing with Big Cedar, Wolf Spirit, Raining Thunder, Iron Boy, and eventually, Midnite Express, a new drum group featuring some of The Boyz themselves. Rainey was always just as much of a fan as he was a participant—when he wasn’t at his own drum, he was recording other drums, then studying the tapes when he got home, admiring and cataloging the different singing styles, whether it was Northern Cree, Cozad or Eyabay.

On Niineta, Rainey finds himself in between cultures again. This time collaborating with Andrew Broder, who brought his multi-instrumentalist, turntablist sensibility to the project. The two of them first met backstage at Justin Vernon’s hometown Eaux Claires music festival before encountering each other more frequently through Vernon and Aaron and Bryce Dessner’s 37d03d collective—both contributing to the last Bon Iver album before broaching the possibility of working together sometime in the future. “At first I didn’t know what I could add to Joe’s incredible recordings,” Broder says. “But eventually I came to understand everything is rooted in the drum—even the songs on our record that have no drum, they’re still rooted in the drum.” So each song started with Broder’s beats, the two of them experimenting with various sounds and tempos, before bringing in other 37d03d collaborators to orchestrate and recontextualize the ancient Pow Wow sound in strange, new in-between places. The album pulls from Rainey’s vast sample folder of Pow Wow recordings, layering and remixing slices of his life of singing in venues across the upper Midwest and Canada.

Rainey got his title, Niineta, from his drum brother Michael Migizi Sullivan, who suggested a short version of the Ojibwe term meaning, “just me.” But he’s using the term only in the sense that he’s taking sole responsibility for its content. Rainey is protective of Pow Wow culture—which was outlawed by the United States government for a generation, defiantly maintained in secret by Native elders he deeply respects—while trying to figure out exactly where he fits into it and how he can fuck with it on his own terms. He uses the analogy of working the hotel room door at a Pow Wow. “You can think of this like, hey man, if all these people are going to be fucking knocking and I’m the one answering the door, you’re going to realize that I’m not the only one in this motherfucker. There’s tons of people in here. So if I’m answering that door, I want to be like, hey, yeah, come on in. There’s fucking tons of us in here. It ain’t just me.”
Watch/Stream “no chants”

Pre-order Niineta

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[Thanks to Patrick at Pitch Perfect PR.]